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A GUIDE TO THE PAINTINGS IN 
THE PERMANENT COLLECTION 





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FOREWORD 


This guide is published in answer to the demand for an 
illustrated volume containing a running commentary upon 
the most noteworthy paintings in the Museum’s collections. 
It is written for the layman and intended to be popular in 
nature. 


I beg to acknowledge with appreciation the aid of Mr. 
Charles R. Thorne, whose generosity has made possible the 
publication of the guide, and the following members of the 
staff who have co-operated in the preparation and arrange- 
ment of the text: Miss Fischkin, Miss Comings, Mr. Kalten- 
bach, Mr. Kelley and Mr. Sherwood. 


Ropert B. HarsHe, 
Director 



















































































































































































































































































SECOND FLOOR GALLERIES 


Room 


THE PotreER PALMER COLLECTION OF 
PAINTINGS 2253/20 


Tue W. W. KIMBALL COLLECTION OF 
PAINTINGS: ya, se eee 


MoperRN FRENCH PAINTINGS ... 28 


DRAWINGS AND SCULPTURE 
(Corridor) Soa aks De oor SEG 


Loan Co.tectTion oF PAINTINGS 30, 30b 


Loan COLLECTION OF PRIMITIVE 


PAINTINGS oe ear eens 
Cuar_tes L. HutrcHinson GALLERY 

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SCULPTURE AND DRAWINGS 

(Corridor) tae ees 33 
ARUNDEL REPRODUCTIONS .... 34 
SCULPTURE AND PAINTINGS 

(Corridor! ae ee 35 
SCULPTURE AND DRAWINGS 

(Corridor) 4(-o) hay et eae ee, 
Henry Fietp Memortat Co.urc- 

TION OF PAINTINGS 212). 9 Dane 
E.izABETH HammonpD STICKNEY 

Room of ‘PAINTINGS “5 3 72a ase 


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ALBERT A. MuNGER COLLECTION OF 


PAINTINGS 1-25 8 Se 
PAINTINGS J.” 5 
NicKERSON COLLECTION OF PAINT- 

INGS . 2 4 ee 
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Drawincs AND Water COoLors 

(Corridor) “3 44 
Mopern PatntTiIncs 79.0) eas 
PAINTINGS. |. ey 46 
Water H. ScuutzeE Memoria 

CoLLECTION OF PAINTINGS ... 47 
TEMPORARY EXHIBITIONS. . ... 48 
SCULPTURE AND DRAWINGS 

(Corridor) |) aaa Meera er 8: 
SPANISH PAINTINGSi9) ee ees 
Epwarp B. BuTLer COLLECTION OF 

PAINTINGS BY INMEGeneg eee 51 
Wa ter L. DEWoLrF GALLERY OF 

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INGS | 4 4 9p Be ie 
SCULPTURE AND DRAWINGS 

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RMR MMe Biel Mishel yo oy Sd >a coy /s RLS eed 4 dom Flee PRL BS, Ay 
eM ee CINE eB ee sens sk ee aces neg She hats osc SRE ows 26 
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Bae MeO OE OC) Matt ere piace ack Vins a uatege aK wna anne ae ae 79 
Dieter: PAINTINGS cng <5 osc. 3 2 bs pes Ba Ae veo hee ee 120 
CATALOGUE 

PMteTINGS IN THE PERMANENT COLLECTION... :..5<0.:s.0u05 05 1 

Peerortlent BY MARTIN A. RYERSONS..260000. 5 ons 4 cd os ns 159 
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feet G IN THE LOW COUNTRIES 


In THE fourteenth century Flanders entered upon a career of com- 
mercial enterprise and accumulation of wealth that was the envy and 
wonder of the rest of the world. Prosperous, practical, and shrewd, the 
people of the Low Countries developed their art simultaneously with the 
great revival in Italy. Flanders, France, and Italy established close rela- 
tions, and there was travel and intercourse between them, but the Franco- 
Flemish Renaissance took on a character quite different from the Italian. 
In architecture Flemish genius expressed itself in the building of great 
secular buildings, town and guild halls, in the Gothic style. The art of 
illumination was raised to an unparalleled jewel-like perfection, was fol- 
lowed by painting in tempera, and this in turn by oil painting, which had 
its first great expression in the work of Jan and Hubert van Eyck. These 
two brothers, born in Bruges and later living at the Hague, gave to oil 
painting a tremendous impetus, and were virtually the founders of an 
important school, even though they were not, as has been asserted, the 
inventors of the medium in which they worked. 

The art which developed in Flanders was an art of realism as dis- 
tinguished from the idealistic art of the Italians. In Italy man was seen 
as created in the image of God, and his godlike quality was emphasized 
in the sustained rhythms and noble lines of the great Florentines and 
Venetians. Flemish art was homelier. The saints and holy men of the 
Van Eycks, Van der Goes, Van der Weyden, and Memling were taken 
from the simple, patient, plain types of the country. But through the 
sincerity of their vision and the triumphant skill of their execution these 
early painters raised their rather prosaic elements to a kind of nobility, 
which, less radiant than the Italian, was limited but intense within its 
bounds. In Quentin Massys we see the beginning of the blending of 
Italian and pure Flemish influences. Italian culture had crossed the Alps 
and was brought back by Flemish artists who themselves had visited the 
centers of Italy or in some other way learned to know Italian art. The line 
continued through Pieter Breughel, one of the first and most sincere inter- 
preters of nature, Mabuse, Pourbus, and others, and as the Italian in- 
fluence becomes more pronounced, the human body is pictured as more 
beautiful, paintings become grander in scale, less detailed and more suave 
in execution. 

The amalgamation of the Italian and Flemish schools reached its 
climax in Rubens and Van Dyck. Unlike his predecessors, who were con- 
tent or unable to do more than plagiarize the external features of Italian 
painting, Rubens had an individuality so strong, so generous and exuber- 
ant, that he was innovator as well as assembler, and while he unified and 
summed up much that had gone before, he also opened up new vistas. In 
energy, breadth of vision, joy in life, and artistic fruitfulness, he is a unique 


5 


6 THE ART . DN SoD? UT E101 Caria ee 


titanic figure. Van Dyck, his pupil, lacked some of his master’s abundant 
vitality, but he had greater refinement and a less vivid but more sensitive 
manner. As court painter to Charles I he was an important influence in 
the formation of the English school. 

The seventeenth century saw the awakening and realization of an era 
of great artistic activity in Holland. The history of Holland and Flanders 
had been almost identical until Holland was suddenly liberated from 
Spanish domination and likewise from the jurisdiction of the Roman 
Catholic church. This new freedom gave unlimited scope to the Dutch 
genius for genre painting. Even more than the Flemings, the Dutch were 
frankly realists and makers of deeds, not dreams. Their art, born later, 
was permitted to develop more naturally, for while the Flemish artists 
were forced to apply their sensuous talent to the painting of religious 
themes, the Dutchmen, not subject to the commands of the church, turned 
easily to the task for which, as Fromentin has pointed out, they were best 
suited: that of painting the portrait of their nation. Never did a country’s 
art reflect more accurately its civilization than did Dutch painting of the 
seventeenth century. Wealthy and home-loving, the Dutch burghers de- 
lighted in pictures with which to adorn the walls of their tall, narrow 
houses. Small paintings were therefore determined by conditions, and the 
themes chosen were subjects in which public and artist alike took pleasure 
—intimate domestic scenes, landscapes, still life, animal pictures, every- 
thing in which the eye could find color and order. It was essentially an 
art based upon observation and accurate transcription of the visible world. 
The Dutch masters painted only what they saw, but no school has ever seen 
with more caressing, yet truthful vision. They were concerned primarily 
with light, and the soft haze that envelops Holland permitted them to 
develop infinitely subtle tonality and refined outlines. 

The two towering figures in Dutch art are Frans Hals and Rembrandt. 
The former had the gift of penetrating vision to a greater degree than any 
of his countrymen. Rembrandt stands apart from the stream, a lonely, 
enigmatic figure. Unlike his contemporaries, he brooded as well as ob- 
served, and his portraits are full of a haunting thoughtfulness. He was 
preéminently the master of light and shadow. 

The masters of genre are many. Van Ostade and Jan Steen were 
endowed with keen and ready humor. De Hooch, Ochtervelt, Ter Borch, 
and, above all, Vermeer grasped and rendered all the delightful nuances 
of interior light. Hobbema and Ruisdael revealed the placid charm of 
the Dutch country. The beauty in little things was never before or since 
so completely realized. 


GERMAN PAINTINGS 25 





On the Shore. By Leo Putz (1869—) 


ONE OF THE strongly individual moderns in Germany is Leo Putz, who 
made his first mark as an illustrator. As he developed, he went from still 
life to landscape, and has now become an outstanding painter of the 
figure. In 1905 when he held his first exhibition in Munich, critics realized 
that he was reaching out fearlessly to explore color problems that were 
usually evaded. To a fresh eye for color he adds a strong feeling for form 
and attacks his canvas with broad vigor. 

Our painting, “On the Shore,” is one of Leo Putz’s most successful 
harmonies in silver. The gray of the costume and that of the water are 
subtly distinguished. With a wide brush planes are blocked out as though 
in a wood carving, but the flowing tonality that blends the nuances of color 
save the work from any feeling of harshness. In common with many of 
the modern Munich painters, Putz realizes a pattern, not only of form but 
of color, of simplicity and strength. The raised horizon gives a forced 
perspective, and the same novel viewpoint that is found in some of the 
paintings by Degas. 


PAINTING IN  GREA [SB Rit aie 


THE Art of painting flowered later in England than on the Continent. 
Its first real impetus came not from within but from the foreign painters 
who were imported in the service of royalty—Holbein, Van Dyck, Lely, 
and Kneller. While the Low Countries and Italy were experiencing their 
great Renaissance, England had not yet felt its wings artistically, but in 
the eighteenth century, when the great periods were over on the Con- 
tinent, English painting emerged. William Hogarth (1697-1764) was its 
first great representative. It was not to be expected that the harshness 
of the Cromwellian era and the stern moral dicta of Puritanism should 
breed an art of insipid sweetness, and Hogarth, true to his times, was a 
moralist, his series of small paintings, like ““The Rake’s Progress,” pointing 
out the sins of the age. 

The Protectorate passed; the Court returned; life became more placid. 
The pleasant ways of English society in the middle of the eighteenth cen- 
tury gave rise to a school of portraiture, which for grace and charm, as 
well as for freshness and wholesomeness, was unrivalled. Sir Joshua Rey- 
nolds was foremost among a group of distinguished “‘portraitists” who 
arose almost simultaneously. As founder and first president of the Royal 
Academy, he helped to give the art of painting real prestige in England 
and was the teacher and leader of his contemporaries. He was a man of 
more scholarship than imagination, a profound admirer of the Italian 
painters of the late Renaissance, and he experimented with pigments in 
an effort to recapture their technical secrets. Unfortunately, he was not 
always successful, and many of his works have faded badly. Thomas 
Gainsborough was more sensitive and impulsive. Like Sir Joshua, he 
delighted in graceful interpretations of aristocratic English womanhood, 
but he added to his reputation as a portrait painter the distinction of 
being the first noteworthy English painter of landscape. Among these 
eighteenth century painters Raeburn was the most downright and vigor- 
ous. It was inevitable that this school of portraiture should eventually 
degenerate; after the first generation, painters began to substitute senti- 
mentality for sweetness, and after Romney and Lawrence, both painters 
of some distinction, the art became increasingly insipid. 

But as portraiture declined, the art of landscape painting became 
stronger, and to the early English experimenters in this field must go the 
credit for much of the inspiration of the Barbizon and Impressionist 
schools. At first landscape painting was a vain attempt to revive the 
classic spirit, and men like Richard Wilson went to Italy to introduce 
mysterious glades and ruined temples. But even these efforts turned 
men’s eyes to nature, and with Gainsborough, and more especially with 
John Constable, a sincere attempt to understand and depict nature was 


26 


BRITISH PAINTINGS ee 





Stoke-by-Nayland. By Fohn Constable (1776-1837) 


RicHarD Wixson, Gainsborough, and the water color painters had 
founded a tradition of landscape in England, but that art, as we know it 
today, found its first great expression in John Constable, and his example 
was an important factor in the founding of the Barbizon and plein air 
schools in France. Unlike Turner, Constable never tried to improve upon 
nature. Born and bred in Suffolk, he loved the English countryside and 
saw no reason for introducing wood nymphs and ruined temples or elab- 
orate artificial lighting effects into his scenes. Constable painted no more 
than he saw in nature. What made his art unique was that he was ap- 
parently the first to see the actual green of grass and trees, the depth 
and quality of cloud-swept sky,and above all, the constant movement of 
sunshine, which he rendered in dazzling strokes of white pigment, called 
by his contemporaries, “Constable’s snow.” 


The son of a miller, Constable himself followed his father’s trade for a 
while, but his unmistakable genius asserted itselfand he went up to London 
to study at the Royal Academy, of which he was later elected a member. 
He never left English soil, and most of his pictures were painted in the 
meadows of Dedham and Salisbury, on the beach at Brighton, or on the 
rolling heights of Hampton. The dignity which he felt to be a part of 
every placid scene may be gathered from his own description of the church 
in our painting of Stoke-by-Nayland, near Stratford: “The length of the 
nave, with its continuous line of embattled parapet and its finely propor- 
tioned chancel, may challenge the admiration of the architect, as well as 
its majestic tower, which from its commanding height may be said to 
impart a portion of its own dignity to the surrounding country.” 


38 THE ART TMS TIT UTE? OF (CHICA 





The Young Duchess. By ‘fohn Faed (1820-1902) 


Joun Faep, a Scotchman, was a miniature painter in his youth. Later 
he made oil painting his medium, selecting subjects of popular appeal. 
“The Young Duchess” is such a subject, but the successful handling of 
strong, bright colors, used in close proximity, the exquisite drawing of 
details, the correct placing of values, are well worthy the consideration of 
the student of painting. The problem of light enters in this painting, not 
as with the more modern Impressionists but in the way that it influenced 
the “‘little Dutchmen,” Vermeer, De Hooch, and Faed’s contemporary, 
Alfred Stevens, the Belgian. Light is not “the principal person in the 
picture,” but the soft glow that comes through the window shines with 
gentle verisimilitude upon the young woman, the rug, and the furnishings 
of the room. 


BRITISH PATN*EEN GS | 39 





Pilots, Puerto de los Pasajes. By Frank Brangwyn (1867—) 


THE YOUNG Frank Brancwyn studied in the workshop of William 
Morris, but a zest for travel and adventure early led him to Asia Minor 
and into Russia and central Europe. A little later, in 1891, he made an 
extended trip to Spain with his friend Charles Melville. The two young 
men traveled up and down the coast and inland, by boat, by carriage, and 
afoot. From San Sebastian the way led across the Pyrenees to Puerto de 
los Pasajes, where our canvas was painted. “The architectural features 
of this city of one street are unique and interesting,” wrote Brangwyn 
atthetime. “Itis a tiny Venice with essentially Spanish features. . . The 
place is as it was two hundred years ago. Time has only knocked the 
angles off. . . I have been starting a tolerably large canvas here of some 
pilots looking out from the verandah across the bay with its brilliant 
white houses opposite. I suppose no one will understand it when I bring 
it home.” And Mr. Frank Shaw-Sparrow adds: ‘““True. Few critics did 
when the picture hung in the winter exhibition at the Suffolk Street 
Galleries, 1892.” 

This early painting embodies several of the qualities which have grown 
more pronounced in Brangwyn’s later work. The romance, color, and 
“subtle pathetic charm” of Spain appealed to him, and subsequent jour- 
neys in East and West only strengthened his liking for vivid, masculine 
themes and treatment. Brangwyn is a very versatile artist. His mural 
paintings are to be found in public buildings in America as well as abroad, 
and he works also in etching, lithography, illustration, architecture, and 
various crafts. 


40 THE VAR TL N STE Reser OF, CHA C Agee 





A Woman in Gray. By Sir William Orpen (1878—) 


Like Branowyy, Sir William Orpen is absorbed in painting for its own 
sake, but he does not seek his subjects in exotic surroundings. To Orpen 
everything is paintable, and his happiest compositions are often those 
apparently arrived at most casually. Attitudes are seldom studied, but 
always behind the simplicity and the spontaneity, there is a keen sense of 
proportion and design. This gracious portrait of the artist’s wife has 
unassuming but positive dignity. In its cool color scheme it harks back 
to Velasquez, but the feeling for the grace and dignity of womanhood is 
thoroughly English. 


PATNIING IN FRANCE 


Tue RENAISSANCE, traveling northward from Italy, found France par- 
ticularly ready to receive and assimilate its gifts and to add thereto her 
own essentially Gallic contributions. French art, having followed a course 
almost identical with that of Flanders through the fifteenth century, came 
under Italian domination in the reign of Francis I, who summoned to 
Fontainebleau such eminent southern artists as Leonardo, Del Sarto, 
Primaticcio, and Benvenuto Cellini. Their Italianizing influence was in 
some measure balanced by that of men like the Clouets, who continued to 
paint in the Flemish tradition. 

The seventeenth century saw France become more and more con- 
sciously classical, under Louis XIII and more especially Louis XIV. The 
rigid absolutism of the monarchical idea was reflected in the cold, intel- 
lectual turn given to painting by Lebrun, Rigaud and others, and some- 
what modified and enriched by Poussin (1594-1665) and Claude Lorrain 
(1600-1682), both of whom were to exert far-reaching influences. A protest 
against this grandiose classicism was voiced by the brothers Le Nain, 
whose lives covered the period from 1588 to 1677; they turned to con- 
temporary peasant life for their material, but their handling, too, was 
cold and their touch heavy. With the death of Louis XIV, French life 
assumed a lightness and gaiety more in keeping with the French tempera- 
ment, and the change in morals and modes was immediately reflected in 
art. The Rococowas born and found its gallant interpreters in such gay 
but highly competent artists as Watteau and Fragonard, and less worthily 
in Boucher and hosts of followers. The reaction against frivolity was ex- 
pressed by Greuze and Chardin (1699-1779), the former a preacher of 
sermons as artificial and affected as the age against which they ostensibly 
protested, the latter a sincere and gifted artist. Portraiture alone con- 
tinued to hold its eminence and flourished while the Rococo fell into de- 
cadence, and austerity and the classic ideal returned in David and his 
school. The influence of David (1748-1825) and his pupil Ingres, who 
avowed that “form is everything, color nothing,” was dominant at the 
beginning of the new century. 

The nineteenth century was destined, however, to branch into im- 
portant new channels. The keynote of the period was the development 
of individual study and the interpretation of reality in nature, in contrast 
to the academic rationalized standards of absolute beauty of proportion, 
line, and composition, based on the principles of classical sculpture and 
certain phases of Italian art. The movement, which accorded with the 
scientific spirit of the age, manifested itself particularly in the study of 
light and color, rather than form, and in the selection of subjects from 
contemporary life and landscape, rather than the grand historical or 


4I 


42 THE ART INS TIDRUTE OF (CRTC 


mythological themes of the past. Aside from the vigorous individuality 
of such innovators as Delacroix and Courbet, the movement was probably 
most greatly influenced by the study of the grand gallery of the Louvre. 
Painters who felt the incompleteness of their own training studied there the 
work of Rubens, Rembrandt, the Dutch genre painters, the Spaniards, 
Velasquez, Goya, and Ribera, and the Italians, in particular the Venetian 
and Bolognese schools. In these men they found the basic principles of 
sincere study of actual objects and learned anew laws of color, composi- 
tion, and subject. The Englishmen, Constable and Bonington, with their 
free, broadly painted landscapes, strongly influenced the early Romantic: 
school and the Barbizon movement. Delacroix, when his picture was 
already hung in the 1824 Salon, heightened his colors after seeing the 
paintings by Constable, which first appeared in France at that exhibition. 
Claude and Poussin, among French masters of the past, had accented 
natural qualities and were therefore studied. The Flemish artists taught 
freshness of color and pointed the way in landscape, genre and animal 
subjects, and in realistic treatment. The conquest of Algeria strengthened 
and warmed the painters’ palette and added a store of romantic subjects, 
while contemporary costume was introduced by Millet and others. 

The break with romance in favor of pure realism came with Courbet, 
the realist, and with the group centering about Manet and Monet. The 
latter started the modern movement in earnest, with the study of light as 
it actually appears. Their experiments resulted in a new style, Impres- 
slonism. The scientific studies of Chevreul and Helmholtz in light and 
color, together with the precedents of such widely differing artists as 
Turner and Constable, exerted a strong influence on the Impressionists. 
Their first concerted exhibition in 1874 defined their problem, the study 
of light and atmospheric color out-of-doors, a study which has undoubtedly 
changed the direction of all subsequent work, in purifying the palette and 
in freeing the vision from traditional ways of seeing. Many of the heartiest 
admirers of Impressionism, however, have deserted the high key of the 
earlier exponents, and have made further experiments in form, design, and 
expression. 

To speak of schools in this age is inaccurate. Men were grouped to- 
gether more by community of interest than by identity of training. Many 
painters exhibited in the Impressionist shows whose work was dissimilar, 
but who united with the Impressionists in aiming at realism through un- 
fettered vision. Realism was carried out also in a new type of draughts- 
manship, which delighted in movement and the expression of character 
instead of in the anatomical accuracy which had been its sole aim in the 
past century. Portraiture, in its psychological significance, is essentially 
a realistic development, as are scenes from every phase of Parisian and 
provincial life. The twentieth century is in many ways one of reaction 
in favor of specialized attention to abstract aesthetic problems. 


FRENCH PAINTINGS 47 





Dante and Virgil. By Eugéne Delacroix (1798-1863) 


THE PAINTING, ““Dante’s Bark,” of which ours is a smaller version, 
hangs in the Louvre. Painted in 1822 by a young man of twenty-three, it 
launched the Romantic movement and aroused the concentrated fury of 
the Academicians, which Delacroix was to know all his life. It was in fact 
“the first characteristic painting of the new century.” 

Dante and Virgil, in a boat propelled by Charon, are seen in the 
Infernal Regions, Dante agitated and horrified, Virgil calm and unmoved. 
About them, in agonized contortions, the bodies of the damned writhe in 
torment. The medieval theme, the frank revelation of emotion and suffer- 
ing, but above all the sculpturesque quality of the figures, which have been 
compared to those of Rubens and Michelangelo, and the richness and full- 
ness of color, were all blows in the faces of the Academicians, who, though 
they might have chosen a classical subject, would never have made it live. 
Here was frenzy, unrest, seeking, all that offended the classicists, but the 
turbulence is only in the subject; the artist, even early in his career, knew 
control and restraint in his technique. 

Another painting in the Institute collections, ““The Oriental Lion 
Hunt,” shows Delacroix’s increasingly brilliant color, sometimes broken, 
always bold, which, with the rushing movement of his compositions, is 
characteristic. To him the beautiful was not the correct and refined, but 
the intense, often fierce, emotional impulse of the individual. “Style,” he 
wrote, ‘depends absolutely and solely upon the free and original expression 
of each master’s peculiar qualities.” 


48 PILE ART UNS TEL Ube SOP, CMe aaa 





Don Quixote and the Windmills. By Honoré Daumier (1808-1879) 


SaTIRE Is often only another expression of forces that, given different 
form, produce Romanticism. Daumier’s art must be reckoned as inevi- 
table a product of his age as the more obviously romantic expressions of 
Géricault and Delacroix. The violent political upheavals in the France of 
the first half of the nineteenth century made partisans of all. The urge 
toward a higher order drove some painters to the past or to distant lands 
for material; Daumier found his material in his own time, and his idealism, 
his love of his fellow-men took shape in caricatures of sham, injustice, and 
hypocrisy. “A man must be of his time,” he said—and lived out his 
philosophy. 

Over a period of forty years Daumier contributed approximately four 
thousand lithographs to Charivari and other periodicals. This busy career 
left him little time for painting, and the public, accustomed to look upon 
him as a caricaturist, would not take him seriously when he later tried to 
free himself from hack work. Nevertheless most of the painters of his day 
recognized his superiority in their field, and Courbet, Millet, Dupré, Corot, 
Daubigny, and Rousseau were among his friends and admirers. Daubigny 
compared him to Raphael, Balzac to Michelangelo; Millet, and later 
Manet and the Realists, found inspiration in his remarkable realization of 
form, his revival of structural] painting, as it had been practiced by Hals 
and Valasquez. 

Daumier’s paintings fall into several series—satirical studies of the 
law courts, sympathetic interpretations of life among the poorer classes, 
scenes from the lives of mountebanks and clowns (“Les Saltimbanques’’), 
and a number of paintings based on the Don Quixote theme. The mingled 
pathos and irony of Cervantes’ epic appealed to Daumier. The Don him- 
self was the dreaming idealist; Sancho Panza represented /e bon bourgeois, 
practical, conservative but loyal. In our picture, a beautiful example of 
Daumier’s handling of paint and his ability to suggest form in a few telling 
strokes, the knight advances gallantly against the windmills, while the 
squire follows upon his patient, slow-moving mount. 


FRENCH PAINTINGS 49 





The Road to Market. By Constant Troyon (1810-1865) 


TRoyYon’s FIRST paintings, exhibited in 1833, were not successful, but 
he kept on against indifference and hardships, working at his landscapes. 
A visit to Holland in 1848 and close observation of the pictures of Paul 
Potter induced Troyon to introduce animals into his own work, and from 
that time on he occupied a unique place among the Barbizon painters. His 
landscape was still significant, but he made it subordinate to his animals, 
which he realized with a remarkable sense of simplicity and truth. He 
painted swiftly, having the faculty of generalization and of seeing in large 
masses. 

Perhaps his favorite subject is that used in ““The Road to Market,”’ 
sheep ‘‘so true that they bleat” at peace in a bath of light. Outlines are 
blurred, but the sense of life is abundant, and his figures, both human and 
animal, move with slow patient dignity. 


50 THE ART INSTITU TES OF CHilCAwe 





The Sheep-Shearers. By Fean Francois Millet (4814-1875) 


MILLET, THE son of humble Normandy peasants, received no formal 
training in painting until the age of twenty. At twenty-three he had 
already escaped from the tutelage of Delaroche, and in 1844 had fled again 
to Normandy after a bitter struggle in Paris. A few years later, however, 
he settled in Barbizon, where he undertook his task of painting the peasant 
life that had been so deeply impressed upon his mind in childhood. Millet 


ERENCH PAINTINGS 51 





Bringing Home the Newborn Calf. By ‘ean Frangois Millet (1814-1875) 


felt the dignity of labor perhaps more than any other painter. His fellow- 
artists at Barbizon were intent upon capturing the fleeting aspects of 
nature. He, too, was a lover of nature, but the human drama was never 
absent from his work. 

“The Sheep-Shearers,”’ a work of 1853, is typical of the simple elegies 
that Millet composed in his studio at Barbizon, from sketches of peasants 
as he saw them in the fields. He worked each subject over many times to 
arrive at the elementals of character, lighting, rhythm. The same subject 
is used in his large Salon painting of 1860, but in the latter work all 
accessories are omitted and the entire attention is concentrated upon the 
absorbed, earnest figures. 

A contract signed in 1860 with the dealers Blanc and Stevens, whereby 
they were to handle work already under way as well as all work done in the 
next three years, resulted in disappointment and misunderstanding. In 
signing this contract, Millet listed our painting, “Bringing Home the New- 
born Calf” as begun, but the finished picture was not exhibited until the 
Salon of 1864 when it drew forth a storm of criticism. The famous 
“Bergére” (a type used again in our “Little Shepherdess” in the Palmer 
collection) was warmly acclaimed in the same exhibition, but the critics 
would not accept the solemnity of the peasants carrying the newborn calf. 
Millet answered their jeers in a letter to his friend and biographer, 
Sensier: ‘“The expression of two men carrying a load on a litter naturally 
depends on the weight which rests upon their arms. Thus, if the weight 
is even, their expression will be the same, whether they bear the Ark of the 
Covenant or a calf.” The solemn little procession is treated with that 
respect and earnestness which Millet felt for the soil and for those who 
dwell and toil upon it. 


52 THE “ART INS iD UGE 20k (Cr ees 





La Matson de la Mére Bazot. By Charles Frangois Daubigny (1817-1878) 


THE REDISCOVERY of nature took various forms in French painting. 
“The young men of genius” of the thirties were united in their insistence 
upon fresh, unhampered vision of the natural world, but to no two of 
them did the world look exactly the same. None saw more tenderly or, 
within his limitations, more deeply than Daubigny. After a period of 
study in the studio of Delaroche, this young painter took a trip to Italy, 
which apparently scarcely affected his work, and returned to France to 
find that he must wait long for recognition. He began exhibiting in 1838, 
but his simple, sincere efforts were given scant attention for a decade or 
so. Overloaded with work as an engraver, he retired to the suburbs of 
Paris and took up his residence at Auvers on the Oise. The peaceful 
country thereabouts he learned to know thoroughly. Most of his time 
he spent on the river, floating up and down on a boat, and sketching as 
he went. 

Daubigny has been compared to Constable; of all French painters he 
was closest to the English artist, adopting for his finished work the easy, 
fluid method which Constable had used in sketching. Only the gentle 
moods of nature appealed to him, and he never attempted to interpret its 
harsher aspects. His favorite light was the cool, mild dusk, an hour 
which he painted over and over with charm and sentiment rather than 
with pronounced style. His color, the fresh green of his vegetation, the 
pearly tones of his sky, is his outstanding characteristic. “The House 
of Mére Bazot” may well be one of those works painted from the water. 
The panorama unwinds easily without strong contrasts, but with pleasant 
accents. 

Pure naturalism has had no more sincere spokesman than Daubigny, 
although Diaz, Rousseau, Corot, and the other Barbizon men made their 
individual contributions. Daubigny was free from convention and man- 
nerism. His palette was as clear as his unprejudiced vision. 


Pier NeO fi PA Ned EN: G'S 53 





An Alpine Scene. By Gustave Courbet (1819-1877) 


CourseT Is the first pure realist in the important movement which 
dominated an age in revolt against David’s idealism. His creed was to 
paint nature exactly as it appears, without sentimentality. “Realism,” 
said he, “‘can only exist by the representation of things which the artist 
can see and handle. Painting is an entirely physical language, and an 
abstract, invisible, non-existent object does not come within its province.” 
There is, however, nothing photographic about his work. He was a power- 
ful man, mentally and physically, and his paintings, too, have power, 
breadth of style, and a vision that saw masses and the true values of light 
and shadow rather than insignificant detail. 

In Courbet’s figure paintings there was sometimes a suggestion of 
social commentary, but his sea paintings and landscapes are bound by 
neither time nor place. The dignity of nature, her rich and somber pro- 
fusion, is deeply felt in his work, and it is the lasting elements of her 
grandeur rather than the ephemeral incident of human life that interested 
him most. 

In spite of his insistence on naturalism, Courbet never gave up studio 
painting for the open air, and never relinquished his old-fashioned palette. 
He painted on a red-brown ground, and although often, as in this picture, 
he used largely cold gray and white, he was master also of rich greens and 
blue-grays. Courbet died in exile in Switzerland, and it was three years 
before his death that he painted this Alpine scene. 


54 THE - ART INST Ee? OF SCH Cae 





The Music Lesson. By Augustin Théodule Ribot (1823-1891) 


Rigor was influenced by the Dutch little masters in his choice of 
subject matter and by the Spaniards and Caravaggio in his thick, dark 
shadows. He painted many types of pictures, but is best known for his 
well-constructed portraits of old people and for small scenes of domestic 
life, such as ““The Music Lesson,” in which his power of painting expressive 
heads emerging from a dark ground is well illustrated. His shadows, 
always prominent, have darkened with time, giving his works an appear- 
ance of greater age than they actually possess. 


FRENCH PAINTINGS 5 





The Fisherman’s Family. By Pierre Puvis de Chavannes (1824-1898) 


Puvis DE CHAVANNES must be remembered as the man who re-estab- 
lished ideals in mural decoration. He suited his painting to its decorative 
function by relating the design to the architecture and by preserving the 
essential flatness of the wall surface. This he accomplished by generaliz- 
ing his drawing, by modeling in pale colors closely related in value, by 
using relatively isolated rather than compactly grouped figures, and by 
placing his material in a few slightly indicated horizontal planes. His 
exquisite delicate colors, especially the silvery blues and greens, recall 
early Italian frescos, but his work was entirely the creation of a highly 
cultivated student and poetic idealist. 

Perhaps the best known of all Puvis’ works are his mural paintings for 
the Pantheon, illustrating the legend of St. Genevieve, the patron saint 
of Paris. The paintings in the Institute are the final studies for two 
sections of the series. The first of these shows St. Genevieve as a child in 
prayer, with her parents watching her from a distance. The other shows 
the meeting of the child saint with two bishops to whom she expresses her 


56 THE ART INSTiI@UT EV OF CHLC Aces 





Meeting of St. Genevieve and St. Germain. By Pierre Puvis de Chavannes 
(7824-1898) 


ideal of dedicating her life to Christ. An explanatory inscription under the 
central panel describes the meeting thus: ‘In the year 429 St. Germain 
d’Auxerre and St. Loup de Troyes, on the way to England and to combat 
the Pelasgian heresy, came into the neighborhood of Auxerre. In the 
crowd which had gathered to meet them St. Germain saw a child marked 
by the divine seal, and he predicted to her parents the high destiny to 
which she had been called. This child was St. Genevieve, patroness of 
Paris.”” In 450, when Attila and his Huns threatened Paris, she restored 
the courage of her people and averted the danger, and later she was instru- 


FRENCH PAINTINGS By 





The Sacred Grove. By Pierre Puvis de Chavannes (1824-1898) 


mental in the conversion of Clovis. Our painting shows her in her youth, 
and Puvis, to use his own words, “‘desired representing the youth of the 
heroine, that all should be young and fresh around her. The year is young, 
it is spring; the day is young, it is morning. Finally, the general aspect is 
tender and gentle, like the soul of this child which must, so to speak, 
illumine and bathe the whole composition.” 

The more abstract and idealized style of ““The Sacred Grove” is a later 
development. The enlarged mural painting hangs as the central panel on 
the staircase at the Palais des Arts of Lyons. The figures of the muses are 
only casually identified, and the similarity in drapery and figure, the 
reserve in gesture contribute to a decorative harmony without reference to 
period or locality. It was necessary that some reference be made to the 
city of Lyons, and this Puvis accomplished by the figure of the boy throw- 
ing flowers into the lap of the muse of painting, symbolizing Lyons’ 
textiles with their floral patterns. 

“The Fisherman’s Family” was painted somewhat earlier than the St. 
Genevieve series. A larger version of this same painting hangs in Dresden 
and has been described as.a representation of the three ages of man. In 
this painting, as in those definitely planned as murals, the large decorative 
flatness and the abstraction of the figures are retained. As in all of 
Chavannes’ compositions the linear scheme has been thoroughly and 
scientifically worked out. Here a strong diagonal movement is opposed 
by another at right angles with it which reconciles and balances the thrust. 
Within these two dominant movements there is a subtle and refined play 
of rhythms and of lines which tie the canvas together in a consistent whole. 


58 THE ART INSTITUT E70 Ff ICH TC Ase 





The Song of the Lark. By Fules Breton (1827-1906) 


“THE SONG OF THE Lark” is one of the best-loved pictures in the Art 
Institute, perhaps because “heard melodies are sweet, but those unheard 
are sweeter.” It is typical of Jules Breton’s best work in its subject, treat- 
ment, and idyllic sentiment. Breton was one of a group who returned to 
the soil for inspiration, not as Millet did, for he was by instinct and 
environment one with his material, but a little self-consciously, like city 
folk on a holiday. A touch of classicism remains in the correct drawing, in 
the arrangement of the dress for grace rather than reality, and in idealiza- 
tion of the peasant girl. Breton, coming a little later than the original 
Barbizon men, inherited their love of nature but not their purely artistic 
approach. His interest was literary as well as pictorial. 


FRENCH PAINTINGS $9 





A Philosopher. By Edouard Manet (1832-1583) 


MANET CONTINUED the realism of Courbet in the study of actual color 
and light, and in his emphasis on character. Influenced also by Velas- 
quez, Goya, Hals, he became the center of the group that included the 
Impressionists and other innovators. “The Philosopher” was one of two 
full-length figures so entitled in the exhibition which Manet and Courbet 
held in 1867. The broad, flat masses are laid boldly to follow the forms, 
the strongly contrasted light and shadow very little modeled within the 
masses. 

The group of young painters who had shocked the critics with their 
innovations became more clearly defined after the war of 1870. Their first 


60 THE ART DUN SVN E OF CHO 





The Race Course at Longchamp. By Edouard Manet (1832-1883) 


independent exhibition, which earned them the name of Impressionists, 
took place in 1874. Manet’s position in regard to the group at this time, 
when he was beginning to receive recognition, was rather that of sponsor 
than center. Upon him had been hurled the insults that now fell about 
Monet and his friends. Manet led the charge of the Impressionists in 
painting with bright color that would give light its true value, but he 
never, like some of that group, neglected contour and volume. Summari- 
zation of essentials, lights and half tones forced by contiguous darks were 
the methods he used in his most controversial canvases (such as ““Olym- 
pia,” ““The Luncheon on the Grass,” “The Boy with the Sword’’). The 
effect of this technique, which pushed shadow to the very edge of the 
lighted objects, combined with the striking arrangement of his masses to 
give a new vitality to painting. 

The Impressionists derived their idea of rapid seizure of a mural “‘im- 
pression” from Manet and the “‘pleinairists’” owe to him their general 
theory for out-of-door painting. Their means of applying the color was a 
matter of experiment in which most of them agreed with Monet’s formula 
of placing only clear color on the canvas. They came to regard painting 
out-of-doors as an essential to their method. 

The “Race Course at Longchamp” is an example of Manet in his 
more pleinairistic phase. The blur of action, like the fugitive effects of 
light, made a subject fitted to the new method of painting. It is evident 
that Manet follows Monet’s style here in his free style of brush work, 
without taking up the other’s division of colors into their elements. 
Design in the focus of lines upon the knot of horsemen had apparently an 
interest for the artist equal with the transcription of the moment of action. 
Manet had in common with Degas a love of the race track, but his instan- 
taneous pictorial “‘snap-shot,” his gusto and vigor contrasts with that 
painter’s greater emphasis on harmonies of tone and carefully studied 
pattern in the sketches which he made of the same subjects. 


FRENCH PAINTINGS 61 





Portrait of Edouard Manet. By Henri Fantin-Latour (1836-1904) 


Fantin-Latour is equally known as a painter of portraits, flower 
pieces, and compositions of floating forms which seem to transcribe mus- 
ical harmonies and poetic dreams. This distinguished portrait, well de- 
signed and penetrating to the inner life of the subject, brought him his 
first important commissions as a portrait painter. It acted favorably 
also on the reputation of Manet, whose name was flouted at the time as 
that of a revolutionary whom every patriot must ridicule. Exhibited in 
the Salon of 1867, the very year of Manet’s unsuccessful independent ex- 
hibition, and inscribed with intrepid loyalty ‘“‘to my friend Manet,” the 
painting challenged Paris to consider the subject as a gallant, true Parisian 
gentleman, quick in wit and sensitive in perception. 


62 THE ART INSTITUTES OF CHICH eo 





Argenteuil. By Claude Monet (1840—) 


Monet was trained at Paris, rather by study in the Louvre and by 
fundamental discussion with other independent young men whom he 
found at Gleyre’s studio than by that master’s academic instruction. 
The group so welded together included Renoir, Bazille, Sisley, the center 
of the Independents acknowledging Monet’s leadership, and first chal- 
lenged critics in the epoch-marking exhibition of 1874. Monet soon with- 
drew from Paris, making his home at Argenteuil from 1868-’78 when he 
moved farther down the Seine to Vétheuil. In 1885 he settled perma- 
nently nearer the mouth of the river, at Giverny. 

““Argenteuil” (1868) is one of the early group of paintings in which the 
young artist followed his admiration for the straightforward style of 
Courbet. In clarity he already excelled that realist. Idealization was for- 
eign to Monet. He painted as he saw, and experience soon cleared his 
vision of falsities. In this objective realism he was strongly drawn to 
Manet, and each influenced the other, though the latter saw light and 
dark where Monet saw color. 

These early paintings, before 1880, often include figures with the 
landscapes. Monet gave up figure work later, becoming engrossed in 
studying fugitive colorations of nature, for careful drawing deterred him 
from his objective. Even here he sketched the figure in flat tones, hasten- 
ing on to the presentation of water shining through dark foliage, reflecting 
a sunny shore and quivering with motion and light. 


FRENCH PAINTINGS 63 





Boats in Winter Quarters, Etretat. By Claude Monet (1840—) 


Monet, contributing to the development of art by his radical treat- 
ment of light and color, was the first Impressionist. His canvases had no 
black or brown shadows but were of clear color throughout and high in 
key. In order to give to composite colors the brilliance of tone which is 
lost by mixing the pigment, he developed a new technique; he analyzed a 
shade into its simple elements, which he laid clear on the canvas, hatching 
them across or laying them close beside one another, on the theory that 
the observer standing at a little distance would perceive a mixed color, 
as vibrant and brilliant as its elements. 

The shipping at Etretat, beached and covered for the winter, was one 
of the subjects that Monet painted several times under different effects 
of atmosphere. The mass and line of the boats form a strong design in 
diagonals, but the contour and form are subordinated, as in all Monet’s 
work, to the color. The cold, clear turquoise of the water is developed by 
contrast with the various violets of the sails, the shore, the covered boats. 

More extended series were painted with the same thought for evanes- 
cent effects of weather and light; among the most important are the lily 
ponds, haystacks, poplars, views of Rouen Cathedral and London bridges. 
These latter especially demonstrate his observation that form and out- 
line depend visually upon quantity and quality of light. For the paint- 
ings in series he kept several easels in daily use, running from one to an- 
other as the light changed. 


64 THE ART INSTITUTE (OF CHICH Ga 





Fudith Leaving the Walls of Bethulia. By fFean Charles Cazin (1841-1901) 


Cazin First began to attract attention with paintings of Biblical sub- 
jects placed in typically French settings. Later he painted pure landscape, 
but the religious note remained in his characteristic half-light which en- 
velops all objects and invests them in mystery. Within a small range of 
pure luminous grayish tones, he created the atmosphere of the serene dunes 
under a twilight sky. The mood of his scenes is nearly always gently 
melancholy, frequently locked with the mood of some Biblical legend so 
intimately interwoven with the setting that they seem indivisible. 

Our painting shows Judith about to leave her city to undertake her 
mission against Holofernes, who lay with his Assyrian army in the valley 
below. She and her maid “went forth to the gate of the city of Bethulia 
and found standing there Ozias, and the ancients of the city, Chabris and 
Charmis. And when they saw her, that her countenance was altered and 
her apparel was changed, they wondered at her beauty very greatly. 
And she said unto them, ‘Command the gates of the city to be opened unto 
me, that I may go forth to accomplish the things whereof ye have spoken 
with me.’ So they commanded the young men to open unto her, as she 
had spoken.” Cazin made no attempt to apparel his Judith in the sump- 
tuous raiment wherewith she “decked herself bravely to allure the eyes of 
all men that should see her.”’ She is dressed in modern costume, and the 
other figures are such as he had seen many times in French fields. 


FRENCH PAINTINGS 65 





Femme @ sa Toilette. By Berthe Morisot (1841-1895) 


THE FOREMOST woman member of the Impressionist group was Berthe 
Morisot; she was, in fact, one of the few women artists who have dared or 
cared to preserve their own essentially feminine point of view in their art. 
She was the great-granddaughter of Fragonard and, as a girl, the protégée 
of Corot; later she met Edouard Manet, whose brother she married, and 
from him learned the fundamentals of the new Impressionism. It was a 
philosophy and a method of painting particularly well suited to her. The 
clear tones and the emphasis upon light accorded with her happy outlook 
and with her subject matter, her graceful girls and young women, in bou- 

doir, park, or ball room. Her eye naturally saw and remembered elegance, 
harmony, and pleasure, and her canvases record only gentle impressions, 
recorded with spirit and grace. 

The “Femme 4 sa Toilette” is a characteristic painting, made in her 
best period, after she had discarded the rather tight drawing of her youth 
and perfected a blurred outline and luminosity. The painting is delicate 
but not at all indecisive, and the clear tones merge like notes of music 
lovingly played and reluctantly relinquished. “She gives the finishing 
touch to her canvases by adding slight brush strokes here and there,” says 
Théodore Duret. “It is as if she were shedding flowers.” This flower-like 
quality is felt in our painting not only in the rose-topped jar on the dressing 
table, but also in petal-like touches throughout the composition. Every- 
where the color harmonies are subtle and refined, the black velvet ribbon 
at the lady’s throat being the only strong accent. 


66 THE ART INSTITUTE (OF (CHICa3c a 





Two Little Circus Girls. By Auguste Renoir (14841-1919) 


In 1875 a small wandering Spanish circus established itself on Mont- 
martre, to the joy of Parisian artists. Degas recorded the fantastic 
shadows of the circus, but Renoir presents the figures here completely 
immersed in a flood of light. High-keyed, subtly graded color, effacing 
refinements of drawing and, as he thought, making unnecessary strict 
attention to anatomy, characterizes this work of Renoir’s early period. 
Renoir has been called ‘the painter of joy, youth, grace.” Distinctly 
belonging to the French tradition of Boucher and Fragonard, he brought 
their nymphs into the sunshine and clothed them in the costume of his 
time. 


FRENCH PAINTINGS 67 





Canoeists’ Breakfast. By Auguste Renoir (1841-1919) 


Before Renoir’s trip to Italy in 1880 he was a free spirit, painting 
entirely for his own pleasure the groupings of Parisian outdoor life. On 
his return from Italy he endeavored to suit his subjects to public demand, 
and consequently undertook the portrait commissions that finally led 
him to comfortable popularity. 

The painting above belongs to his early work, when he was recording 
impressions of the life of Paris. About 1879-’80 it was fashionable to 
paddle down the Seine by canoe to a waterside café. At Chahut-noise 
Renoir saw the banks of the Seine brightened by these groups at break- 
fast after their morning sport, and painted several compositions, of which 
this is one, in preparation for a large Salon painting. The subject is one 
of alluring grace, with that ease and amenity that Renoir as a true Pari- 
sian knew how to enjoy. His color is at its best; the harmony is one of 
blended lights, for light itself blurred by gentle haze seems to pour from 
the canvas. Nasturtiums are picked out on the pattern of the cool-toned 
trellis, and high colors in the canoe on the river, the boat-house across the 
water, fruit on the table, are graduated charmingly from orange to blue 
in the many-colored reflections and shadows of the table-clothand boating 
suits; all enhance the depth of luminous blue in the lady’s costume. ‘The 
masses of color seem to drift in an aura, like prismatic lights seen through 
vapor. 


68 TILEVA:RT INST PRU Ee-Olr- C He CrarGae 





Young Woman's Portrait. By Henri Regnault (1843-1871) 


REGNAULT STUDIED under Cabanel, received the prix de Rome, and 
worked in Rome for two years. Some of his early pictures were strongly 
academic in subject and not a little so in treatment. A visit to Spain 
exerted a strong influence, and it was with a conscious ambition to paint 
somebody in the style of Velasquez that he made the celebrated portrait 
of General Prim, now in the Louvre. His greatest debt, however, was to 
Delacroix, whose follower he was in romantic temperament, in love for 
color and in technique. Regnault died at the age of twenty-four, killed in 
action in the Franco-Prussian War, and his individuality never had oppor- 
tunity to reach its full development. Such a portrait as ours, however, 
shows that to distinction and thoroughness in drawing and technique, he 
added a power of understanding character that revealed a mature talent 


FRENCH PAINTINGS 69 





Place de la Trinité. By Fean Frangois Raffaelli (1850-1924) 


RAFFAELLI WAS an independent realist who studied first under Géréme, 
became profoundly influenced by Monet and the Impressionists, and 
finally worked out his own method. Like the Impressionists, he painted in 
touches, but he grayed his tones on the palette instead of applying pure 
color directly to canvas. He devoted himself largely to views of Paris 
and its suburbs, street scenes such as the “Place de la Trinité,”’ and char- 
acterizations of the lower and middle classes. 

His cold color schemes are typical, especially of his earlier work, when 
he was particularly fond of winter subjects, long streets lined with bare 
trees and suburban buildings, all under a gray sky. After a visit to Eng- 
land, however, he added the delicate greens of spring and warmer tones. 
He was an accomplished etcher, and the linear drawing of his paintings, 
with color applied in lines or touches, is suggestive of the technique of the 
etcher. Paris he knew thoroughly, and if his scenes and color schemes 
have sometimes a certain cold gravity, the accurately observed human 
figures introduce a sympathetic touch, enlivened occasionally by a sense 
of generous humor that separates his work from that of the more satirical 
Daumier as well as from that of the social-surgeon, Forain. 


7O TALE ART UNS PRUE SO Fo CHC 





Foan of Arc at the Court of Chinon. By M. Boutet de Monvel (1851-1913) 


Boutet pE Monve: combined a thorough knowledge of academic 
draughtsmanship and nineteenth century craft with a sympathetic under- 
standing of the spirit, customs, and manner of life of the fifteenth century. 
This combination he brought into happy play in his illustrations for the life 
of Joan of Arc. His art, studied under Cabanel and Carolus Duran, was 
akin to that of Holbein in its fastidious insistence on line and to that of the 
medieval illuminators in feeling and color. His style was clear and clean- 
cut, his forms simplified to their essentials, and his strong outlines filled in 
with flat, rich colors. 

The large painting of Joan of Arc at the court of Chinon is the only one 
of a series of decorations planned for the memorial church at Domrémy, 
Joan’s birthplace, which the painter’s health permitted him to complete. 
His designs, however, he later incorporated in a book on the subject. Each 
figure in the throng is distinctly characterized, yet the whole is kept flat 
and mural. Infinite pains and research are revealed in the richly brocaded 
costumes, and there is nowhere any modeling except in the faces, where, 
though subtle and delicate, in each case a definite portrait is nevertheless 
created. 

In his story of Joan, Boutet de Monvel thus describes the scene: 

“One evening, by the light of fifty torches, Joan was brought into the 
great hall of the castle, crowded with all the nobles of the court. She had 
never seen the King. Charles VII, not to attract her attention, wore a 
costume less splendid than that of his courtiers. At the first glance she 
singled him out and knelt before him. ‘God give you a happy life, gentle 
Dauphin,’ she said. ‘I am not the King,’ he answered. ‘Yonder is the 
King.’ And he pointed out one of his nobles. 

““*You are he, gentle prince, and no other. The King of Heaven sends 
word to you by me that you shall be anointed and crowned,’ and coming to 
the object of her mission, she told him that she was sent by God to aid and 
succor him.” 


Penge Ne Cid 7 PAS DN «lel NiGes at 





Te Burao. By Paul Gauguin (1848-1903) 


THE REVOLT in painting did not stop with a protest against conven- 
tional ways of seeing. Art, in the person of Gauguin, voiced its protest 
against civilization itself. Vision, said Gauguin, need not be exact but it 
must be true, and truth means the deeply-felt, fearless expression of great 
emotions. Rejecting a successful bourgeois career, Gauguin turned his 
back upon a Paris that he despised and took up residence on the island of 
Tahiti in 1891. Two years later, in 1893, after disappointments and 
disillusionment on the island, he made another attempt to storm Paris; he 
failed, and returned to end his days in the South Seas. 


Our landscape was painted in 1892 and follows closely the description 
of his habitation given by Gauguin himself in his book, Noa, Noa: “On 
one side was the sea; on the other, the mountain, a deeply fissured moun- 
tain, an enormous cleft, closed by a huge mango leaning against the rocks. 
Between the mountain and the sea stood my hut, made of the wood of the 
burao tree. Close to the hut in which I dwelled was another, the fare emu 
(hut for eating).” 


Gauguin’s art derives more naturally from the past than many people, 
misled by the originality of his subject matter, realize. He rejected 
Impressionism entirely, his inspiration coming more fully from thirteenth 
century stained glass and from Egyptian, Byzantine and Japanese art. 
Gauguin’s paintings are related to Puvis de Chavannes and to Cézanne, 
rather than to their more febrile followers, in their large flat masses, their 
decorative quality based on linear composition, and their archaic calm 
It is as decoration that Gauguin primarily regarded them, and as decora- 
tion that they must be finally judged. 


72 THESART UNS TEEPE (OR CRA Cia 





Sentenced for Life. By fean Louis Forain (1852—) 


IRony AND sympathy are two qualities that the French seem happily 
able to combine. Sometimes, of course, the balance is not evenly struck, 
and bitterness gets the upper hand, as in the case of Henri de Toulouse- 
Lautrec. Among contemporary French painters, Forain carries on most 
completely the Gallic tradition of mockery without malice. Like Daumier 
before him, he has been greatly interested in the contemporary social and 
political life about him, and has contributed sketches and cartoons without 
number to the French journals, so that the scribbled signature “‘forain’’ is 
universally recognized as a key to caustic comment. 

Slightly younger than Manet, Degas, Raffaelli, and other leaders of the 
Impressionist movement in France, Forain was nevertheless a member of 
that group and intermittently represented in their exhibitions. His art has 
often been compared with that of Degas, and it is true that, like Degas, he 
sees form rather than line, as did Daumier, but for Forain the purely 
pictorial arrangement is not enough. He must always make some com- 
ment—wise, sardonic, or compassionate—upon the scene he depicts. He 
does this without loss of artistry, for his interpretation is inherent in his 
concise economical forms. 

For a long time Forain found his subjects in the court room, cafés and 
in the foyer of the opera. Later came the War and a turning to religious 
themes. Our painting belongs to the earlier period when he was satirizing 
the injustice of justice as dispensed in the courts. He has sympathy for 
the poor and unfortunate, but for officialdom and for certain gross types 
among the dourgeoisie he has only the most ruthless contempt. 


FRENCH PAINTINGS 73 





La Voyageuse. By Emile Blanche (1861—) 


Emite Biancue is a French artist who has learned much from the 
English, especially from the eighteenth century portrait school, which he 
particularly admires. After a childhood and youth spent among the finest 
examples of eighteenth century French art, in a home visited by Dela- 
croix, Corot, Millet, Manet, and other leaders in the artistic world, he 
traveled in Spain and taught himself largely by study in museums. “La 
Voyageuse”’ shows his English-derived placing of a large figure in an out- 
of-door setting. 

In handling and in color it more nearly resembles the work of such 
English Painters as Lavery, Brough, and Henry than that of present-day 
Frenchmen. 


74 THE ART, INS TLIO E30 Ciel Cra 





Auguste Renoir (Portrait). By Albert André (1869—) 


Tue Art InstiruTE is fortunate in possessing portraits of two of the 
greatest of the French Impressionists, Renoir and Monet, by one who was a 
pupil of the latter and whose art has developed sympathetically. André 
inherited from Monet his science of color and from Renoir his interest in 
the physical beauty of material objects, and to these has added his own 
feeling for form. True to Impressionism, he loves light, but instead of 
destroying form, he seeks to accent it by light. The portrait of Renoir, 
showing the master as an old man, invalided, but with indomitable spirit, 
is much lower in key and more neutral than we are accustomed to expect 
from a member of this school. 


When friends asked Monet to have his portrait painted, he chose 
André, his favorite pupil to do it. Our portrait shows him in his garden 
at Giverny. 


SPANISH PAINTINGS a 





The Two Sisters, Valencia. By Foaquin Sorolla y Bastida (1863-1923) 


SorOLLA was a painter of brilliant figures in sunshine. He painted 
broadly, with forceful finality, filling his canvases with the warmth of 
Valencian sunlight. As a visiting instructor in the school of the Art Insti- 
tute in 1910-11, he bequeathed a lasting impress of vigorous personality 


and sound technique. 


78 THE A-R'T LN S'T4AaPeTeE OF (CH CY aa 





Uncle Taturo of Segovia. By Valentin de Zubiaurre (1879—) 


ArreR MuriLto Spanish painting fell under foreign influence. Not 
until the end of the eighteenth century were scenes taken from Spanish 
life again realized in painting. Goya’s psychological and national work 
in portraiture and caricature of that period was succeeded in the nine- 
teenth century by mannerists following the dictates of David. In 1835 
the Romanticism which became so important in France left a superficial 
impression on Spain, which still remains a stronghold of the old school, 
following Fortuny and resisting the inroads of modernism. Realism had 
its beginnings in Spain somewhat earlier than in France, and while follow- 
ing the same general directions, has not submitted to French domination. 

Valentin de Zubiaurre and his brother Ramén belong to a younger 
generation than Zuloaga and Sorolla, but they are working in the same 
Spanish tradition. Born in the Basque country and descended from old 
Basque families, they have strong feeling for their native province. After 
studying abroad they returned to Spain with a new appreciation of its 
charms and the avowed purpose of observing, setting down, and inter- 
preting the customs and characteristics of the proud, simple Basque folk. 
The art of Valentin de Zubiaurre is grave, almost austere with primitive 
flatness of treatment. His painting, “Uncle Taturo of Segovia,” is typical. 
The figure in its bold position against a rugged landscape and a great 
sweep of sky is not unreminiscent of Zuloaga, but in its keen and sym- 
pathetic characterization it reveals an independent talent. 


PAINTING IN AMERICA 


Tue Cotoniat period in America was not conducive to the establish- 
ment of an artistic tradition. Life was a matter of stern reality, and there 
was little time for the cultivation of art. Such men as essayed an artistic 
career, as avocation rather than vocation, generally took for their models 
the English portrait painters. Art for its own sake was not understood or 
greatly desired, and portraits were ordered to gratify the vanity of wealthy 
men or to preserve the features of distinguished ones. Just before the Rev- 
olutionary War, such men as Benjamin West, John Singleton Copley, 
Charles Willson Peale, and Gilbert Stuart had already made their reputa- 
tions as “limners.’’ West, however, belongs more to England than to 
America, for he made his home in London and succeeded Sir Joshua 
Reynolds as president of the Royal Academy. Nevertheless, he strongly 
influenced American painting, and was the personal friend and patron of 
a number of young Americans who turned to the mother country for 
instruction and guidance. During and immediately following the War of 
Independence, political developments were uppermost in the minds of 
most Americans, and young painters executed grandiose paintings of 
battles and portraits of the nation’s heroes. At the conclusion of the peace, 
leisure and contemplation became possible, and the growth of a national 
spirit led to greater pride in national art. Still English in tradition, though 
independent in government, America continued to follow British artistic 
standards. The results were, to be sure, somewhat different. In America 
there was not that pleasant life of elegance and fashion that fostered the 
aristocratic portraiture of Reynolds, Gainsborough, and their followers. 
Here life was simpler and more rugged, and the most successful artists were 
those who caught that spirit in their work without attempting more 
theatrical effects. The intention and the technique, however, were British, 
and it is not until the beginnings of landscape painting in the Hudson 
River school that we find a groping toward an authentic American idiom. 

The Hudson River school represented the first break with tradition and 
an attempt to found an American art, but although it helped to train 
landscape artists like Wyant and Inness, there was not substance enough 
in its teaching or its achievement, and the young men had to turn else- 
where. During the eighteenth century American art had been influenced 
almost entirely by the English portrait school. In the nineteenth century 
a more cosmopolitan trend appeared; the United States was becoming less 
isolated, a power in world affairs, and new vistas opened up. English 
art had fallen into sentimentality and weariness; now Germany, where 
the romantic and literary tradition prevailed, attracted many young 
painters. Diisseldorf and Munich were the centers. Eastman Johnson 
was a product of the first school, and Frank Duveneck, William Chase, and 
John W. Alexander of the second, but Johnson outgrew the romanticism 


79 


80 THE ART INSTITUTE OF CHAca ee 


of Dusseldorf, and the other three added their own contributions to the 
discipline of the German studios. Nevertheless, they brought home a basic 
principle and introduced it in America. This was the principle that brush- 
work was the foundation of painting. They themselves painted in bold 
masses, conceiving their compositions as a whole rather than as patched 
fragments of detail. 

The most powerful outside influence upon American art in the last 
century, as upon art everywhere, has been French. Here the influence did 
not flow in a single unadulterated stream. France itself was divided 
artistically, the Academicians disagreeing with the more radical tendencies 
exemplified by the rebellious spirits of Barbizon and elsewhere. The 
Barbizon school aimed at the truth in nature, and for them this meant 
the truth of their own personal vision, unhampered by the classical or 
conventional point of view. George Inness found their teachings more 
helpful than those of the Hudson River School, and both he and William 
Morris Hunt carried the philosophy of Barbizon back to America. The 
fashionable academicians of Paris—Bonnat, Géréme, and Carolus Duran 
—attracted many American students to their studios. In their ateliers 
the younger men learned accuracy and draughtsmanship, but it remained 
for the Impressionists to point the way to greater breadth of vision and 
freedom of technique. 

All of theseinfluences have been and are still at work in American paint- 
ing, and the result is a complexity of forces, of which few may yet be 
said to be authentically American. How many forces have gone into the 
making of our painters may be seen by briefly examining the careers of two 
of the most distinguished, Whistler and Sargent. Whistler lived in Eng- 
land for the greater part of his life, but French, Spanish, and Japanese art 
were blended in his own, which still remained intensely individual and 
personal. Sargent was born in Florence, studied under Carolus Duran in 
Paris, and was perhaps most deeply influenced by Velasquez and Hals, but 
the brilliant brush-work and vivacious gusto of Sargent are also unique. 
He and Whistler thus typify the blending of the old and the new, the 
freshness of the American point of view combined with the culture and 
poise of the European. It may be that America itself is too vast, its fibre 
too complex, to produce a unified school of art, although no other country 
can lay claim to Winslow Homer or John Twachtman. These men used 
the material around them not for purposes of illustration, but because it 
happened best to express their own temperaments. 

The country today knows many artists who are speaking in the 
American language. Their technique they may have learned elsewhere, 
but their outlook is their own. Different scenes and environments have 
produced different types of painters. The art of the Boston group is quite 
different, in its quiet, well-bred refinement, from the robust and vivid work 
of Henri, Bellows, and their followers, and the latter in turn differ from 
the painters of the Far West, the landscapists of New Hope, or the more 
modern groups centering at Provincetown and Woodstock. 


AMERICAN PAINTINGS 81 





Brass Crosby, Lord Mayor of London. By ‘fohn S. Copley (1737-1815) 


CopLey, ONE of the most brilliant of the early American portrait 
painters, left America before the outbreak of the War of Independence. 
He made London his home for the rest of his life and became a fashionable 
and famous portraitist, despite the fact that he had to compete with 
Reynolds and Gainsborough. From its general style it may be inferred 
that the portrait of Brass Crosby was painted in Copley’s early and most 
successful period in England. Crosby was a conspicuous figure in English 
politics from 1770 to 1785, and this portrait was probably painted for 
some public building. It shows the Lord Mayor in all the majesty of 
official robes and surrounded by the insignia of office. 


82 THE “ART, DNS Toa EE OF «Grit Cra ia 





Portrait of a Gentleman. By Benjamin West (1738-1820) 


West Lert America at the age of twenty and never returned. In Eng- 
land he became tremendously successful, was a favorite of George III, and 
helped to found the Royal Academy, of which he became the second 
president. He was a kindly and a generous man, and his studio was the 
school room for many younger artists. Peale, Stuart, Trumbull, and other 
American artists visited him and invariably received friendly encourage- 
ment. Although extremely popular and greatly respected in his own day, 
West lacked the insight and the technical gifts of his greater English con- 
temporaries. His portrait of an unknown gentleman is painted in a char- 
acteristic, painstaking, rigid manner. The other paintings in the Art 
Institute by West, “He That Is Without Sin” and “Troilus and Cressida,” 
are typical of his pompous, rather cold conceptions of legendary and 
Biblical themes. 


AMERICAN PAINTINGS 8 3 





Portrait of George Washington. By Gilbert Stuart (1755-1528) 


DuriNnG THE years immediately following the Revolutionary War por- 
traits of George Washington were eagerly sought in the natural expression 
of a national pride. Of the large group of portraits so produced, the Art 
Institute owns two important works. 


Gilbert Stuart’s full-length portrait of Washington is very impressive. 
Stuart had settled in England just as the war clouds were gathering over 
America and remained there until 1792 when he returned to America. In 
England he had enjoyed great success. Benjamin West had taken him 
into his house for four years, but the younger man seems to have been little 


84 TIDE ART IN S°Ud Uae OLE Corie ease 


influenced by his patron. Unlike most painters of his day he did not spend 
time in copying the old masters, nor did he attempt to cover great can- 
vases with allegorical and historical scenes. He knew himself to be pre- 
eminently a portrait painter, and as such his likenesses were penetrating 
and straightforward, yet his sitters lack neitherdignity noraristocratic ease. 
The facile directness of his brush, restrained by consideration for textures 
and edges, ranks him next to Raeburn among the contemporary English 
portrait painters. 

When finally he returned to America, Stuart had painted portraits of 
many members of noble and royal families abroad. His long absence from 
his native country had not, however, estranged him, and he came back 
with the ambition to paint the President. Washington sat to him for two 
portraits, and from these Stuart made numerous replicas. That in the Art 
Institute is one of seven full-length portraits which Stuart made of the 
President. It is a variant of the famous painting made for Lord Lans- 
downe, and was made for Gardner Baker of New York, who placed it in a 
museum belonging to the patriotic Society of St. Tammany. Later it was 
exhibited in Boston. After Baker’s death the portrait was lost sight of for 
several years, but was found and sold to William M. Tweed who hung it in 
Tammany Hall. 

In 1924, due to the efforts of Mayor Dever’s Committee of one hundred 
and the contributions of hundreds of school children and citizens of 
Chicago, this portrait was purchased and presented to the Art Institute. 


EpwarbD SavaGE was typical of many artists of the post-Revolutionary 
period in that he was master of several trades. Originally a goldsmith, 
he gave up that vocation to become a portrait painter and engraver. At 
the age of twenty-eight he requested and was granted permission to paint 
a portrait of General Washington from the life. This portrait now belongs 
to Harvard University, but Savage made three other paintings of the first 
President. His group painting of the Washington family was engraved 
and widely circulated through the states. 

The portrait in the Art Institute gains added interest from the fact 
that it was painted on a panel from a coach said originally to have be- 
longed to George III, a gesture which enabled the painter to do honor to 
the nation’s hero and express his scorn for the monarch in the same 
breath. Much smaller than the Stuart portrait, it is also more informal. 
Washington is shown seated easily at a table, his gaze fixed in the dis- 
tance, his expression serious but not, as in so many of the official portraits, 
stern. The two portraits were probably painted at about the same time, 
or at any rate represent Washington at about the same age, and it is 
interesting to compare them. Stuart was by far the greater artist of the 
two, but the Savage portrait has its interest by reason of its more pee 
sonal quality. 


AMERICAN PAINTINGS 85 





Portrait of George Washington. By Edward Savage (1761-1817) 


The career of Edward Savage is not known in detail. In 1794 he made 
a visit to England and upon his return took up his career as engraver and 
painter of portraits in oil and miniature in Boston, Philadelphia, and 
New York. Toward the end of his life he became interested in the ‘““New 
York Museum,” one of those strange storehouses of miscellaneous art 
objects and curios which were the forerunners of our museums. Savage 
himself retained our portrait of Washington until his death, when it was 
passed on to members of his family. A descendant, Miss Katherine 
Colvin, presented the painting to the Art Institute in 1921. 


86 THE ART INS TID UGE OF Cail pemew 





Mrs. George Lingen (Portrait). By Thomas Sully (1783-1872) 


Tuomas SULLY was born in Horncastle, England, but came to America 
at an early age. He soon showed an aptitude for “‘limning,” and as a 
young man paid one hundred dollars to John Trumbull for the privilege 
of observing the older man’s methods in painting a portrait. Sully made 
two visits to England, the first in 1810, when he met Benjamin West and 
other noted painters, the second in 1837, when he was commissioned to 
paint the young Queen Victoria. He spent most of his long, busy life 
in Philadelphia, where he painted hundreds of the prominent men and 
women of his day. 

Sully kept a register, in which he entered all his paintings, the names 
of the sitters, the dates, sizes, prices (which varied according to size and 
according to the omission or inclusion of the sitters’ hands), and other 
details. Of the 2,520 paintings so recorded, the first was a miniature 
made in Norfolk in 1801, the last a copy after Michelangelo in 1872. Our 
portrait of Mrs. Dr. Lingen was painted in 1842, according to the register, 
“for professional services,” and the physician must have felt himself well 
repaid, for it has the charm and vivacity of Sully’s best work. 


AMERICAN PAINTINGS 87 





Corn Husking. By Eastman fFohnson (1824-1906) 


FoLLowincG THE death of Gilbert Stuart, a transitional period began 
in American painting. Here, as in England, the generation of the portrait 
painters was passing, and genre painting and landscape began to claim the 
attention of artists, who discovered the unique features of American life 
and the American countryside. The founding of the National Academy 
of Design in 1828 marked the growing interest in and encouragement of 
native art. A broadening of technique and method did not immediately 
follow the greater range of subject matter. Literary content was given 
more consideration than purely artistic quality. The so-called Hudson 
River School of landscape painters was serious and sincere, but tight and 
cramped in style. It was not until American painters went abroad and 
brought home the lessons of Barbizon that landscape painting became 
infused with atmosphere, movement, and the light of the sun. Genre 
painting, on the other hand, took its cue from England and Germany, 
especially from Munich and Diisseldorf, which in the middle of the 
century attracted many young Americans. 

American life in the period immediately preceding and following the 
Civil War furnished the themes for Eastman Johnson. Among the first to. 
imbibe the teachings of Diisseldorf and The Hague, he returned to the 
United States to paint genre pictures among the working classes of the 
North and South. He knew well both the plantation life of Kentucky and 
the country life of New England, the easy-going slaves and the sterner 
farmers of the North. Although his paintings often have anecdotal or 
“literary” quality, their sound draughtsmanship and the unmistakable 
sincerity of the artist lift them above most of the work of the period. 

Sadakichi Hartmann wrote of Eastman Johnson: “He did not find it 
necessary to idealize nature—mud or magnificence, it was all the same to 
him. The only embellishment he furnished he gave unconsciously, his 
energetic individuality.”’ We may see by examining the details of our 
picture how thoroughly Johnson understood the everyday life of the farm. 


88 DILE ART INS TID UTLE* OF «CH VG 





Catskill Mountains. By George Inness (1825-1894) 


THE TRUTH which Constable in England and the Barbizon painters in 
France sought to capture was also the ideal of George Inness. Like them, 
he strove to penetrate to the very heart of nature, to preserve its essence 
on canvas, not merely its separate outward forms. Of a deeply religious 
nature, he could not but be conscious of a spiritual message in nature. 
“Some persons suppose that landscape has no power of conveying human 
sentiment,” he said, “but this is a great mistake. The civilized landscape 
peculiarly can; and therefore I love it more and think it more worthy of 
reproduction than that which is savage and untamed.” 

As a youth, Inness, the son of a retired grocer, was apprenticed to learn 
engraving, a branch of art more likely than any other to yield a livelihood 
at that time, but it was not long before the young man sought instruction 
elsewhere. The Hudson River School was then the leading authority on 
landscape painting in America, but Inness soon outgrew the tight drawing 
and large, heroic panoramas upon which the Hudson River artists laid 
emphasis. A period of study in the studio of a French artist in New York 
was followed by a visit to Europe, during which he came into contact with 
the Barbizon school. He was particularly drawn to the work of Corot, to 
whom he is akin in ability to realize a synthesis of natural elements and in 
reverence for the inner reality of natural forms. Inness returned to Amer- 
ica, with a new vision and heightened feeling for tone and form. 

His art was never stagnant. He moved from the traditions of his 
youth to more and more fluid handling of simple themes. Drawing be- 
comes broader and broader, until at length line is omitted and form is 
suggested by masses boldly brushed in. His later paintings have still less 
detail; he worked within a more restricted range of values, with silhouettes 
earefully studied for varying edge qualities, subtly modelled within and 


AMERICAN. PAINTINGS 89 





The Storm. By George Inness (1825-1894) 


bathed more and more in a golden haze. He remained an experimenter 
to the end of his days, was rarely satisfied with a finished painting, and 
painted over his canvases time after time. 

The Art Institute is fortunate in possessing an unrivaled collection of 
paintings by Inness. The twenty-two canvases comprising the Edward 
B. Butler collection trace the progress of his work from his early, more 
rigid compositions to the glowing canvases of his middle and late years. 
In writing of the Butler collection, George Inness, Jr., the artist’s son, says: 
“One of these canvases, “The Catskill Mountains,’ a large picture, dated 
1870, shows an afternoon sun pouring down from behind blue clouds, 
tipped with opalescent light, which is thrown across the mountain-range, 
permeating the whole scene. The style of it is very similar to “Peace and 
Plenty’ (in the Metropolitan Museum), and shows his earlier methods. 
You will notice that everything is made out with minute delineation. 
Every tree is painted individually and stands apart, this elaboration being 
carried from foreground to distarice and though it has a wonderful en- 
velopment and charm of light, it does not deal so strongly with the 
imaginative, as does the ‘Mill Pond,’ which was painted at a much later 
Deliodeec. -” 7 

“The Storm,” a work of 1876, illustrated above, already shows evi- 
dences of that greater simplification and synthesis which reaches its cul- 
mination in such late works as ‘““The Home of the Heron,” “‘Early Morn- 
ing, Tarpon Springs,” and “Threatening.” The last-named picture, says 
the son, “‘was painted in the last years of my father’s life. It is dated 
1891 and shows the breadth of technique which characterizes that period.” 


gO THEO ART INS TDG EO} Chia 





In the Studio. By Fames A. McNeill Whistler (1834-1903) 


AccorpinG To the Pennells, Whistler’s friends and biographers, our 
painting, “‘In the Studio,” was intended by the artist to be merely a “beau- 
tiful study for a big picture like the ‘Hommage 4 Delacroix’, with Fantin- 
Latour, Albert Moore, and himself, the ‘white girl’ on a couch and /a 
Faponaise walking about, grouped together in his studio: all that would 
shock the Academicians.”” Apparently he got no farther than this sketch 
of the two models and himself. It is a study only, but it illustrates some 
of Whistler’s most characteristic traits, his delicate color harmonies, his 
feeling for the nuances of a scene, his Japanese-like arrangements of spots. 
The girl on the couch is rapid, wraith-like; so is the other, Whistler’s 
familiar Faponaise; but the slight figure of the artist himself, though vague 
and transparent, is unmistakably characterized. 


Deve RICAN = PAINDIN.GS gI 





Watching the Breakers. By Winslow Homer (1836-1970) 


Winstow Homer is perhaps the most essentially American artist this 
country has produced. He spent most of his life on American soil, and 
brief visits to Paris and a somewhat longer residence in England seem to 
have left no impress upon his work. It is, in fact, difficult to assign influ- 
ences in Homer’s work. He was a singularly independent figure, standing 
apart from his fellows, avoiding dealers, exhibitions, all that smacked of 
officialdom. Through long, patient years, he toiled at his easel, and the 
end was not foreshadowed in his first keenly observant, but tight illus- 
trations. Kenyon Cox has said that he did not rightly “‘hit his stride” 
until he had passed the age of fifty; other critics place his finding of himself 
still later. 

Early recognition of the boy’s talent led Winslow Homer’s parents to 
apprentice him to a Boston lithographer, and after two years at this work, 
he rented a studio and began his career as an illustrator. During the Civil 
War he acted as artist-correspondent for Harper’s Magazine. His illus- 
trations were often hard and labored, and he never quite overcame a 
tendency to cramped drawing. He was above all else an observer, a 
reporter. He saw with the most honest, sincere, unbiased singleness of 
vision. And of everything that he looked upon he best understood and 
loved the sea. Homer was more than a marine painter; he painted its 
depth, the wind blowing across it, the spray in the air, the fury and passion 
of the waves, the drama of human life in contest against the deep elemental 
force of nature. The greatest of his marines were painted at Prout’s Neck 
on the coast of Maine, where he lived alone in his studio and penetrated 
with fierce intensity into the artistic problems he set himself. Our painting 
is a work of 1891, the period of some of his finest contributions. 


92 TRE: A‘R oT TNS DE Uer Be OW!) Cee ara: 





The Fates Gathering in the Stars. By Elihu Vedder (1836-1923) 


E.inu VEpDDER spent most of his adult life in Rome, where the influence 
of old masters and of classical sculpture, rather than of his contemporaries, 
permeated his work. Uninfluenced by impressionism and the new realism, 
Vedder sought an ideal world in his painting, a world where the human 
form was but a poetic symbol. His ““Three Fates” is a typical subject, and 
typical, too, is the handling: the classic folds of the drapery, the emphasis 
upon line and arrangement rather than upon mass and color. The wool, 
which Clotho winds while Lachesis spins it, and the shears with which 
Atropos cuts the thread of life, are here laid aside while the three sisters 
gather in the stars. 


AMERICAN PAINTINGS 93 





The Toilet. By Mary Cassatt (1845—) 


Mary Cassatt, a pupil of Manet and Degas, was born in Pittsburgh 
but went to Paris as a student and has remained there. She was a member 
of the original Impressionist group and participated in their exhibitions. 
She has devoted herself largely to the painting of mothers and children, 
usually choosing sturdy, bourgeois types, but approaching each new canvas 
with a singularly fresh and sympathetic enthusiasm. ‘The Toilet,” a 
work of 1894, illustrates her handling of the mother-child motive, bold in 
pattern and sense of form and strong in the juxtaposition of vibrant color 
masses. 


94 FHE ART LN S TED GEO Corl Gee 





F. Frank Currier (Portrait). By Frank Duveneck (1848-1979) 


THE MEN who were most strongly influenced by the Munich school and 
who in turn exerted the strongest influence upon other American painters 
were Duveneck and Chase. The former spent ten years in the Bavarian 
city and the nearby Alps. Our portrait of Frank Currier was painted in 
1876 on Duveneck’s second visit to Munich. It shows traces of his earlier 
manner, when he was accused of painting in a “brown sauce,” but it 
illustrates admirably the directness of his method and its freedom from 
mannerisms. 

At a time when other American painters were painstakingly drawing 
their outlines and then filling them in with color, Duveneck went ahead 
with his heavily loaded brush, making his powerful, firmly placed strokes 
do the actual work of construction. In its sombre coloring, with only 
the head emerging into light, the portrait of Currier shows the combined 
influences of Leibl and Hals. Duveneck’s work inevitably recalls also 
the painting of old Dutch and Flemish masters. 


AMERICAN PAINTINGS 95 





Alice. By William Merritt Chase (1849-1916) 


CHASE, LIKE Duveneck, was a Munich man, but in his work many 
influences played a part—Velasquez, Manet, Whistler, and the German 
and Japanese schools. He had a lively interest in technique and crafts- 
manship and experimented in many forms and mediums. “The sentiment 
in art is passé,’ Chase used to say, and he did apparently paint pots and 
pans and fish with as much zest as he painted portraits. Nevertheless, in 
such a picture as “Alice,” not only form and arrangement interested the 
artist, but the personality of his daughter, her frank smile and natural 
girlish pose. His subject has paused just long enough to allow her father to 
catch the pose; in a moment her_advancing foot will move and she will 


skip away. 


96 THE -ART INSTITUTE. OF) CAC aa 





The Lute Player. By F. Alden Weir (1852-1919) 


J. Atpen WEIR was moved by the spirit of experimentation that 
animated France in the latter half of the nineteenth century, and was him- 
self at home in many mediums. From Manet he learned the simplification 
of form; from Monet new ways of handling the problems of light. Both 
these influences appear in his “Lute Player,” although in its delicate inter- 
pretation of a refined feminine type,it is essentially personal. —Themasses 
are broadly and simply painted, and the light is gentle but softly radiant. 
The woman’s face is invisible; we see only the line of her cheek and the 
curve of her shoulder and arm, but the mood of the moment is unmistak- 
able, and the whole painting has a quality suggestive of music. 


AMERICAN PAINTINGS 97 





The Amateurs. By Alexander Harrison (1853—) 


THE NINETEENTH Century carried painting out of doors, first in France 
and then—for American artists were now taking their cues from France— 
in this country. In Barbizon nature was approached with reverent and 
open mind; a later generation of French artists applied the new findings 
of science in regard to light; Americans abroad quickly made use of their 
discoveries. 

In the work of Alexander Harrison two influences meet: the objective 
realism of the Bastien-Lepage school and the devotion to form and light 
for their own sake, as developed by the p/ein air painters. ‘““The Amateurs” 
shows this double influence. The figures of the boy and girl are observed 
with an eye for minute detail that might have served Bastien-Lepage, 
but the painting of the water shows an individual quality of observation 
that looked at nature straightway and recorded its own independent im- 
pressions. The water is unmistakably “wet’’; the luminous reflection is 
truthfully rendered. 

Harrison was among the earliest of the American pleinairists, and his 
work paved the way for many others. He did away with the dark shadows 
that clouded the works of many of his contemporaries and rendered form 
with only slight modeling, the delicate variations of tone accomplishing 
what striking contrasts often failed to do. As a transitional work, as a 
“document” in the history of the art of our country, ‘““The Amateurs” is a 
work of great importance. After its production landscapes were no longer 
made in the studio, and the open air was acknowledged as not only the 
place to study, but to paint nature. The precepts for which Harrison and 
others of his day stood have become the commonplaces of painting, but 
they showed the way, not without opposition and misunderstanding. 


98 THE ART INSP UE . OlP* CHC 





Snowbound. By Fohn H. Twachtman (1853-1902) 


Tue Art of John Twachtman is both subtle and subjective. For a 
parallel point of view we must look to the interpretive painting of the 
Orient. His highly spiritualized and personal impressions of nature are 
breathed upon his sympathetic canvases with exquisite delicacy. He lived 
close to the soil on his Connecticut farm, and knew the moods of the chang- 
ing days and seasons, knew them so intimately that when he came to paint 
them, he painted not separate trees and brooks and paths, but the essence 
of the whole scene as he absorbed it into his observing, sensitive spirit. 


Twachtman painted many types of landscapes and in different ways, 
but he seems to have had a particular fondness for winter scenes, of which 
our ““Snowbound” is typical. Nature here is quiescent, but not dead; in 
the scene is both peace and promise. He delighted in working within a 
narrow range of values, and the snow scenes gave him opportunity for 
introducing subtle variations of hues within self-imposed limitations. 
A second painting in the museum, “Gloucester,” shows another side of 
Twachtman’s art. The last years of his life were spent in the Massa- 
chusetts town, where the harbor and hills, the ships and houses, gave him 
new material for the most illusive and delicate effects. 


Twachtman received his early training from Duveneck and later 
studied in Munich, but his art was more nearly allied to that of Whistler 
and the French Impressionists than to other schools. Like the latter 
group he sought the abstract, the ideal in nature, without losing sight, 
however, of the essential reality of the forms of nature. 


AMERICAN PAINTINGS 99 





The Miraculous Draught. By Emil Carlsen (1853—) 


Emit Car.sen was born in Denmark, but came to America as a young 
man. He was trained as an architect, and worked for a while as an archi- 
tectural draftsman, until he determined to make painting his profession. 
Perhaps it is his Norse inheritance that gives him his understanding of 
the sea. Best of all he loves the quiet moods of the sea in those hushed 
hours when nature stands still while its colors vibrate softly. It is such a 
mood he gives us in “The Miraculous Draught,” a reverent interpretation 
of a religious theme. Carlsen’s conceptions are simple and direct, and his 
reticent draughtsmanship and handling of pigment give them unusual dis- 
tinction. He eliminates darks,as Twachtman did,so that his canvases are 
high in key with a narrow range of values. Within this range, however, the 
gradations are sensitive and scarcely visible, and the color, however high 
pitched, clear and luminous. Related to the Impressionists in his love of 
light, he is quite different in technique. His brush is more restrained, his 
paint dry, his handling more deliberate than impulsive. 


Although he has fine understanding of the sea, Carlsen does not limit 
himself to sea paintings or even to landscapes. In two paintings of still 
life the Art Institute has examples of another side of his work. Taking 
the homeliest of kitchen utensils, he arranges them, as Chardin did, and 
finds beauty in form and in subtle gradations of tones, so that subject 
matter becomes negligible. 


100 THE ART INS TED ULE OF Cio 





A Family Group. By George De Forest Brush (1855—) 


GeorcE De Forest Brus is an interesting example of the artist who, 
not content with the traditions of his immediate predecessors, harks back 
to a period with which he finds himself in complete and sympathetic 
accord. Something of the spirit of the cinquecento Italian masters is to be 
found in his work. For them art was a divine adventure; for him, too, it 
must be tinged with religious feeling. He has painted his wife, typifying 
patient, gentle motherhood, and their children many times, and always the 
treatment is grave and tender. In more than feeling, however, Brush is 
allied with the Florentines. His insistence on line and the meticulous care 
with which he paints detail are not dissimilar. 

In Paris Mr. Brush studied with Géréme, whose classes attracted 
many young American students. Although some of these painters later 
abandoned the classical traditions taught in Géréme’s atelier, George 
Brush developed the academic principles learned there. Upon his return 
to America he felt that the great wealth of Indian folklore and culture 
furnished the logical material for the American artist, and for some years 
went deeply into that rich mine. 

His later work, however, consists chiefly of variations of the mother- 
and-child theme. Our painting is typical in its atmosphere of refinement 
and thoughtfulness. A tapestry, dimly discerned upon the wall behind 
the group, testifies to the artist’s love of the art of the past. The line is 
sensitive and sure as it moves upward from the older boy’s hand and 
the sloping length of the mother’s dress and the child’s round limbs. 


AoW liCiA NP ALIENSDIN GS Io] 





Copyright Detroit Publishing Co. 


Sunlight. By ‘fohn W. Alexander (1856-1915) 


Towarb THE close of the nineteenth century, when American stand- 
ards of painting were rather loose and ill-defined, John W. Alexander was 
an important influence in popularizing the practice of sound craftsman- 
ship. He was himself preéminently a craftsman, and pleasing design plus 
workmanlike painting is the keynote of his art. In “Sunlight” it is not 
so much the young woman as a personality that interests us as it is the 
pattern of the picture—the long graceful line of the figure, the sprightly 
touch of sunshine, the broadly treated color. Alexander painted on 
coarse, porous canvas with firm, bold brush strokes. 


102 THE: ART INS TIt UE OF SCR Cesc 





Portrait of Mrs. Dyer. By Fohn Singer Sargent (1556-1925) 


Joun SINGER SarGEnT was born in Florence of American parents and 
has spent most of his life abroad. He had already acquired considerable 
knowledge, taste, and skill when he entered the studio of Carolus Duran 
in Paris and was quick to absorb that popular master’s teaching. In Spain 
he studied Velasquez, and in Holland Hals, and his art was influenced by 
both, though he had from the first an unerring sense of his own powers and 
before he was thirty was well on an unbroken path to fame. Sargent, like 
the great Spaniard and the great Dutchman, is essentially an “outer eye 
visionary.” He sees surfaces, textures, planes, seizes them unhesitatingly, 
and fixes them on canvas with clarity and decision. 


BEvG E RIL CAIN SP A TINTON GS 103 





Portrait of Mrs. Swinton. By Fohn Singer Sargent (1856-1925) 


In his many portraits of women Sargent has created a brilliant com- 
pany, his swift, determined brush catching all the elegance and charm 
of pose and dress as well as the most fleeting characteristic expression. 
The portrait of Mrs. Dyer, small and thoughtful, was painted in Venice in 
1880 in the first flush of the artist’s uninterrupted success. That of Mrs. 
Swinton was painted in 1906, when he was on the very crest of the wave. 
Here his “‘realism of elegance’’ is seen at its best. Whatever personal note 
one might have detected in the portrait of Mrs. Dyer is gone. In his 
painting of the tall figure in the gleaming satin gown Sargent is the un- 
biased recorder of the facts of the visible world. 


104 THE ART ‘UNS TAP UeGE- OF (Ooi Cee 





The Disciples at the Tomb. By Henry O. Tanner (1859—) 


Henry O. Tanner was born in Pittsburgh, but has spent much of his 
life abroad. A pupil of Thomas Eakins in Philadelphia and of Laurens and 
Constant in Paris, he later traveled in the Near and Far East and learned 
to know the topography, people, and customs of Egypt, Algiers, and 
Palestine. This familiarity with the Holy Land has given an authoritative 
stamp to the setting of his religious paintings. Almost all of Mr. 
Tanner’s pictures are based upon Scriptural themes, and the decorative 
intention of his work is only incidental to the greater absorption in creating 
an atmosphere of devotion and sincere fervor. In “The Disciples at the 
Tomb” there is a characteristic luminosity that is found also in “The 
Three Marys” by the same artist. 

A portrait of H. O. Tanner by Charles Dudley Murphy gives an in- 
teresting impression of this artist. 


MVE Ril CAN: | PAIN EEN GS Ios 





A Rainy Day. By Frank W. Benson (1862—) 


THE SO-CALLED Boston group of American painters are marked by an 
intense devotion to the refinements of their craft. The “little Dutchmen,” 
in particular Vermeer, have been the acknowledged guides of Edmund 
Tarbell, Philip L. Hale, and others of the school. To the qualities pro- 
duced by unifocal vision they have not failed to add the gift of broken 
color, which was introduced by the Impressionists. Among this group 
the work of Frank W. Benson has had a wide appeal, due not only to 
variety of subject matter, but to mastery of many mediums. 

“A Rainy Day” shows one of those pleasant New England interiors 
that this artist loves. The subdued light falls softly, as in old Dutch 
paintings, and the mood of the day and the incident is sustained in every 
detail. Mr. Benson has painted many domestic scenes, very often using 
his own children as his models, delighting most perhaps in placing them 
out-of-doors in warm, bright sunshine. 

Mr. Benson is one of the most versatile of American artists. He has 
by no means confined himself to figure compositions or even to painting. | 
Ina “Still Life, Decoration” the Institute has a painting that shows a more 
frankly decorative side and a sumptuous sense of color. His dry-points 
of wild birds, his water colors of swiftly moving streams, his portraits and 
landscapes in oil reveal his ease in a wide range of subject matter and 
media. Himself a sportsman, he has recently turned to painting, drawing 
and etching the flight of birds in all seasons and weathers. 


106 THE ART INS PEEULE OF (Chet Cae 





Maya, Mirror of Illusions. By Athan B. Davies (1862—) 


“ROMANTIC” Is a term applied to those artists who find their reality in 
the inner, not the outer world. Arthur B. Davies is one of these, his art 
being not a reflection of life, but an escape from life into a world of his own 
making. Many artists dream, but not all can remember their dreams and 
give them form. Mr. Davies lives in his imaginative world as a child 
might and tells his stories with as little pose or self-consciousness as a 
child. He is a “designer of dreams,” and if the symbols are not always 
clear, one can at any rate rejoice in their arrangement. 

Davies flees from nature—but never far. Nature is always at his 
beck and call. Even in his dream world, the forms are the forms of nature 
as we know them, transplanted into his country, where we recognize them 
as familiar, but see them with new eyes. Many influences have touched 
Davies, among them that of ancient Greece, but he is essentially a 
modern in that his vision is fresh and his point of view original. Perhaps 
the greatest difference between the art of Davies and the art of Greece is 
that his expresses the restlessness of search for the ideal, rather than the 
poise of attainment. 

Davies often uses mythological or symbolic material as a point of 
departure in his paintings, adapting them to his own fancy. Our picture 
refers perhaps to that Hindu doctrine of Maya, physical world conceived as 
illusion, without true reality. “Space and time are, as the Hindus de- 
clared, the veil of Maya, or Illusion, wherewith the hidden unit of things 
is covered so that the world appears manifold,” says Josiah Royce. Maya 
is also identified with female energy, and is sometimes personified as a 
goddess, mother of the world. 


AMERICAN PAINTINGS 107 





Herself. By Robert Henri (1865—) 


THERE 1s humor, sympathy, and truthfulness in the twin portraits of 
“Himself” and “Herself,” painted on a visit to Ireland when the artist 
made many paintings of Irish types. The shrewd, simple peasant and his 
bright-eyed, apple-cheeked wife live before our eyes. Earlier in his career 
Robert Henri painted slim, shadowy types, akin to Whistler’s ephemeral 
figures. His “Young Woman in Black” in the Art Institute is representa- 
tive of that phase of his work, which has given place today to a much 
bolder and more robust method. For a number of years past he has been 
loading his brush with color and attacking his canvas with great directness 
and vigor. As a result, his portraits, warmly painted and swift in effect, 
though deliberate in intention, glow with life and personality. 

Mr. Henri has been a stimulating teacher to many young artists, 
urging them towards “‘the development of individuality, and the search 
for the just means of expressing it, simply and fully.” 


108 THE ARTO UNS Dit Ud 10.) [CoG eeee 





The Fishermen. By Bryson Burroughs (1869—) 


Bryson Burroveus takes for his subjects romantic phases of the past 
and endows them with a whimsical touch of his own. His work is purely 
subjective, and he makes no attempt at realism. Often his titles recall 
mythical or legendary material with which we are familiar, but the artist 
draws upon his imagination rather than upon accepted texts for his treat- 
ment. Like more primitive artists, he often introduces contemporary 
elements into fanciful scenes, but he does this with a more deliberate 
naiveté than they. There is a suggestion of neither time nor place in “The 
Fishermen’; it is quite without historical or geographical setting. The sea 
has always been, and men have always pitted their wits against its dangers. 
Something of the universality of the theme is suggested in the method by 
which it was developed. Its quiet coloring, the simplicity with which the 
large masses are handled, and the long, swinging rhythm combine into a 
very harmonious composition. 

Since 1909 Mr. Burroughs has been curator of paintings at the Metro- 
politan Museum, New York. His catholicity of interest and wide knowl- 
edge of the art of the past have made him an eclectic in his own work. As 
a young man, a student in Paris, he was an admirer of the pre-Raphaelite 
painters, and he took his early work to Puvis de Chavannes for criticism. 
His own words on modern painting may explain his point of view: “The 
new style aims to arrive at something like an abstract of realism in which 
the subject is represented in an essential aspect which may be free from 
the accidental circumstances of any particular appearance. . . . Our age 
is tired of robust and accustomed forms and craves a new expression in 
their distortion.” In a tendency to abstraction Mr. Burroughs is in line 
with the movement, but his forms, while not robust, are not distorted. 
He turns from the forced naiveté of much modern painting in favor of the 
clear, restrained style of classicism. 


Mavisio wk 1 CAN (PATON: T LN: GS 10g 





Albin Polasek, Sculptor. By Charles W. Hawthorne (1872—) 


In ruts dual portrait, the sculptor is being painted while at the same 
time he is engaged in modelling a bust of the painter, which is also in the 
collections of the Art Institute. Mr. Polasek is shown in a moment of 
suspended action. He has turned his face from his work to look at his 
sitter, but his hand still rests upon the unfinished bust, and his counte- 
nance wears the expression of a man intent on a creative task. The figure 
of the sculptor is alert and vital, as contrasted with the cold clay under his 
hand. This contrast between the quick flesh and the moist inanimate clay 
has been strongly emphasized. 

Charles W. Hawthorne was born in Rhode Island and studied under 
Chase, whose influence is evident in his work. He has spent many sum- 
mers in Provincetown, and is well acquainted with the simple New Eng- 
land types of that district. Many of his paintings are studies of these 
types executed with sympathy and vigor. In a recent painting that has 
come to the Art Institute, “Three Selectmen of Provincetown,” Mr. 
Hawthorne has revealed further powers of characterization and has under- 
taken the difficult problem of painting three distinct portraits within 
the confines of a single frame without losing the unity of the composition. 


IIo THE -ART“LN ST DEE OF Crea 





Idlers: August. By Karl Anderson (1874—) 


THE INFLUENCE of the French Impressionists, especially Monet and 
Renoir, has been strongly felt by certain American figure-painters. 
Frederick C. Frieseke, Richard Miller, and Karl Anderson are among the 
men who have responded to the French artists’ delight in bright outdoor 
light and their method of catching its vibrations in broken color on canvas. 

Karl Anderson, born in Ohio and a student of the Art Institute school 
as well as of various academies abroad, lives now in the artists’ colony 
at Westport, Connecticut. He has demonstrated originality and variety 
in his figure paintings, which combine a clear knowledge of actual forms 
with a decorative sense and imagination. In “Idlers: August” the 
museum has a characteristic subject, young women in brilliant sunshine. 
The broken color gives a sensation of swimming heat in which everything 
shimmers, but the palette has a goodly proportion of cool blues and greens. 
The young women, gracefully relaxed, fit adequately into the mood of the 
summer scene. 

“Tdlers” is a painting designed for one purpose only: to give pleasure, 
and the elements, pleasant in themselves, are woven into a pattern of 
sensuous charm. The pearly flesh-tints are such as a long line of artists, 
from Rubens to Renoir, have delighted in painting. 


aver k LOAN. PAT N ENG S Dit 





A Kentucky Mountaineer. By fames R. Hopkins (1878—) 


THE HINTERLAND of the Kentucky and Tennessee mountains contains 
a wealth of material that American writers and artists have not begun to 
exhaust. The men and women who live in those districts are perhaps the 
most primitive folk left in this country. Many of them are illiterate and 
in total ignorance of the revolutionary changes made in modern life by 
such inventions as the railroad and the telegraph. 

James R. Hopkins has made a study of the backwoodsmen of the Ken- 
tucky hills. Our painting is one of a series that sheds light upon these 
obscure people. He does not sentimentalize, but lets the mountaineers tell 
their own story by presenting them as simply and as directly as possible. 
Mr. Hopkins paints in a modern spirit. His brush strokes are broad and 
firm, and while he is obviously greatly interested in his subject matter, the 
decorative aspects of his canvases are not neglected. In “A Kentucky 
Mountaineer” he has placed his gaunt woodsman against a strong light, 
and the irregular boards behind him are elements in a bold pattern. 


jee THE ART INS TiDUAaRE 70 FC Hal Crataae 





Mount Equinox; Winter. By Rockwell Kent (1582—) 


RockweE Lu Kent presents the interesting paradox of an artist who is 
at once a rebel and a stern self-disciplinarian. Mr. Kent gave up his 
architectural studies at Columbia University to paint under William M. 
Chase and later studied with Abbot Thayer and Hayes Miller. After 
successive residences in Maine and Minnesota, where he worked with his 
hands as a carpenter, he followed his desire to escape from a confining 
civilization of convention, and made a prolonged visit to Alaska, taking 
with him as companion only his little son. His experiences there have 
been set forth in a book, ‘“Wilderness.”’ A few years later wanderlust took 
him as far as Tierra del Fuego in a lifeboat. 

“Mount Equinox” was painted in Vermont in 1921, two years after 
the artist’s return from Alaska, whither he had journeyed, as he himself 
says, because he “‘craved snow-topped mountains, dreary wastes, and the 
cruel North sea, with its hard horizon at the edge of the world where in- 
finite space begins.”” Our painting is infused with this feeling for the 
eloquence and mystery of the cold, severe aspects of nature, but here the 
hard outlines and sharp contrasts are tempered by a subtle rhythmic 
scheme, the delicate play of line and color, and the introduction of such 
gentle details as the bounding deer and the young birches. 

The vein of mysticism in Kent’s work and the personal intensity of 
his vision have not blurred the incisiveness of his line or the nicety of his 
perceptions. Rebellious in spirit, he practices a strict economy of gesture. 
He sees too clearly to give anything but clear, sharp-edged impressions on 
his canvases. 


AMERICAN PAINTINGS Diy 





Hills of Byram. By Daniel Garber (18S80—) 


DaniEL GARBER is a painter of nature with a pronounced decorative 
bent. Some painters try to conventionalize the forms of nature without 
first understanding them, but Mr. Garber, who grew up in a small Indiana 
town, without any special early training or encouragement in art, learned 
to know and love nature as a boy. He studied painting in Cincinnati and 
Philadelphia and later in France, Italy, and England, and is represented 
in most of the important museums of America. 

Mr. Garber has made several paintings of the country about Byram. 
At first glance this quiet river and the gray-brown banks offer no striking 
decorative possibilities, but the artist has introduced a fine play of subtle 
contrasts and variations in pattern. The tree in the left foreground leads 
diagonally up to the bare spot in the hills and this carries on to the sky. 
The two goats in the foreground give an accent and touch of life. Another 
painting in the Art Institute, “Towering Trees,” is more frankly man- 
nered. A rich blue-green here predominates, and the tall trees make a 
frame for the rest of the picture. 

Daniel Garber is a member of the group known as the “New Hope 
School,” which includes Robert Spencer, Edward W. Redfield, and W. L. 
Lathrop. These men are all taking varying aspects of American life for 
their subject matter, and although Robert Spencer is absorbed in scenes 
of industrial life, while Lathrop paints the country, they are in accord 
in their fresh and enthusiastic approach to contemporary material. 


114 THE ART INSTITUTE, O'F~ CAC 





Portrait of Foseph Pennell. By Wayman Adams (185}3—) 


AMONG THE portraits of artists owned by the Art Institute is this of 
Joseph Pennell by Wayman Adams. It is one of several portraits made by 
Adams of the celebrated illustrator, etcher, and lithographer. One 
shows him in his workshop; another places Mr. and Mrs. Pennell against 
the window in their Brooklyn studio; in ours he is seen sketching. The 
long, lean figure is placed boldly against a vague background in which 
tall buildings loom—an appropriate setting for an artist who has made 
distinguished interpretations of industrial and architectural themes. Mr. 
Adams often paints his portraits in a single sitting, and by this method 
achieves both freshness and spontaneity. 


The portraits of Joseph Pennell are part of a series which Adams has 
been recently painting of prominent American artists. Sidney Dickinson, 
Hayley Lever, George Elmer Browne, and Edward W. Redfield are 
among the painters who have sat for him, in each case the portrait re- 
vealing a characteristic attitude and surroundings. 


AMERICAN PAINTINGS I1§ 





Portrait of My Mother. By George Wesley Bellows (1882-1925) 


THE work of George Bellows is typically American in the best sense. 
A pupil of Robert Henri, he was not untouched by modern foreign in- 
fluences, but these he assimilated so completely that his product 1s thor- 
oughly individual. He chose his subjects from contemporary material 
close at hand; the beach at Coney Island, the slum dweller of the East Side, 
the wharves, the revivalist, the sports of nineteenth century America. 
The boxing ring, furnished him with several of his most vigorous subjects. 
With George Bellows method grew happily out of theme, and his treat- 
ment in a fight scene was quite different, for example, from his treatment 


116 THE ART INSTIUDWTE OF CHI Cle 





Geese and Hollyhocks. By fessie Arms Botke (1583—) 


in portraits of members of his family. In the latter the intimacy between 
artist and sitter, the sympathy and understanding that distinguish fine 
portraiture, are splendidly felt. 

In Bellows’ large canvas, “Portrait of My Mother,” there is both 
strength and dignity, repose suggested without sacrifice of vitality, and 
the sense of age, sympathetically but not sentimentally projected. The 
color is subdued and sombre, enriched by the deep red-browns of the rug, 
the checked red table cover, the spot of yellow in the goldfish bowl and 
in the reflection in the mirror, the touch of purple in the bag which the 
old lady holds. She sits among her old-fashioned possessions, at home 
with them, but dominating them. “Love of Winter,” also hanging in the 
Art Institute, is painted in still another vein. A scene tingling with brisk 
action is handled with appropriate boldness and swiftness. Bellows’ com- 
positions, apparently so simple and spontaneous, are in reality the result 
of thoughtful application of the principles of design. 


Jessie Arms Borkz is a Chicago artist who paints decorative pictures. 
She has a feeling for intricate and delicate patterns and nice arrangements 
of color. In ‘“‘Geese’’ she has taken a very homely subject and placed it 
in a colorful setting, treating the whole with a quaint gravity that pleases 
and amuses. The canvas is treated from the craftsman’s viewpoint. It 
is a surface to be decorated impersonally with small insistence on natural- 
ism, as though, for instance, it had been a tapestry. 


AMERICAN PAINTINGS DL, 





Spring Rains. By Victor Higgins (1884—) 


New Mexico, rich in natural beauty and in its remnants of unspoiled 
Indian tribal culture, has attracted several groups of artists. Most of 
them came upon more or less casual visits, were struck by the wealth of 
material at hand, and have remained, believing that by going back to the 
primitive sources of American life, they may find the key to its interpre- 
tation. Here they are not oppressed by the din and tension of cities, and 
in the scenes about them they find fresh and significant material. 

The two chief artistic centers are in and about Santa Fe and Taos. 
To the Taos group belong such men as Walter Ufer, E. L. Blumenschein, 
B. J. O. Nordfeldt, and Victor Higgins, who is represented in the Art 
Institute by “Spring Rains.” Mr. Higgins was born near Shelbyville, 
Indiana, and studied first at the Art Institute and later with René Ménard 
and Lucien Simon,in Paris and Hans van Heyck in Munich. His work, 
at first quite literal studies of scenes and figures, has become at once 
more individual and more general—that is to say, his color and sense of 
decoration has grown stronger while his pictures have come to suggest 
and to symbolize more than the immediate scene represented. In “Spring 
Rains” the somewhat fantastic trees, the deep blue mountain, the Indians 
in the foreground are suggestive of that generous, opulent character of 
the West which a generation of painters beginning with Bierstadt and the 
Morans had been content to render literally. 


118 THE ART DIN StO1T UsimE> OF 9 Cit Cree 





Arbor Day. By Eugene F. Savage (1853—) 


EuGENE SavaGE stands apart from the main stream of contemporary 
American painting in his withdrawal into the past and his grave treatment 
of symbolic subjects. In 1912 he was awarded a fellowship at the Amer- 
ican Academy in Rome, and worked in Italy for several years. There 
contact with the works of the old masters left a deep impress upon his art. 
His relationship to the past, however, is not obviously derivative, but 
based upon his deliberate methods of working and his refusal to be swept 
into the swifter, more impulsive tendencies of the day. 

Mr. Savage’s paintings are essentially mural in character. He works 
in a flat, decorative style, not attempting to create an illusion of depth 
in his canvases but concerning himself rather with achieving an archi- 
tectonic quality which makes his pictures integral parts of the wall. 


AMERICAN PAINTINGS IIg 





Leo Ornstein at the Piano. B y Leon Kroll (1884—) 


Leon Kro tt is one of those American artists to whom Arthur Jerome 
Eddy has given the name “virile Impressionists,” by which he means 
those who “‘were quick to respond to all that is good and strong in Im- 
pressionism but found little satisfaction in the ultra-refinements of Neo- 
Impressionism.”” Born in New York, Mr. Kroll studied at the Art 
Students’ League in that city and with Laurent in Paris. His work 
testified to a discipline of hand that has not devitalized the freshness of 
his vision. His impressions are vivid and personal and, especially in the 
case of his portraits, enriched by sympathy. 

Certainly sympathy is a strong element in the sensitive portrait of 
Leo Ornstein, the young Russian pianist and composer. The musician is 
presented with the understanding of the fellow-artist. The rich color 
and strong pattern of the painting suggest the very character of the music 
upon which Ornstein is so intent. The crossing diagonals of the piano 
top and the bar which supports it cut off a little triangle in which the 
musician’s hand vibrates. This emphasis makes the raised hand as 
expressive as the face with its lowered, concentrated gaze. Mr. Kroll’s 
palette is restrained and low in tone. His forms are full and buoyant. 


WA TEARS C OW O Re RAT INGE NaS, 


THE RECENT Impetus given to water color painting has led to a popular 
belief that this medium is of recent origin and development. Asa matter 
of fact, water color painting can trace its history from the Nile, while oil 
painting is of comparatively modern origin. The frescoes of the Egyp- 
tians, Greeks, and Romans were painted with colors soluble in water but 
mixed with gum, egg, or other adhesive mixtures. This medium was 
called tempera and reappeared in medieval times in the beautiful il- 
luminated letters of manuscripts and in the full illuminated pages that 
succeeded the single letters. Water color painting, however, as we know 
it today, grew out of the painting in “body color,” or gouache, practiced 
by German and Dutch artists of the sixteenth and seventeenth centuries. 
Even after oil painting had attained full development, the masters of the 
late Renaissance continued to make cartoons and studies, brushing in the 
lights with colors mixed with a white pigment which rendered them 
opaque. 

From the body color of the German and Dutch tinted sketch to the 
sketch tinted in color wash was an easy step. In England, where water 
colors received their first complete emancipation from other branches of 
art, this process was probably introduced by Hollar in the middle of the 
seventeenth century. A shaded drawing was made in neutral tint with a 
pen or brush and flat wash, and the tint laid on in the outlined spaces. 
In blocking out light and shade with an overlay of color, a knowledge of 
the manipulation of values and tones was developed. The English 
topographers employed their skill in drawing scenes of country estates for 
the albums of the gentry and in making studies for engravers. This 
subservience of the medium to engraving led to a gradual degradation 
of the process into a cut-and-dried trick of craftsmanship. 

Paul Sandby (1725-1809) and the two Cozens, Alexander and his son 
John Robert, injected new vitality into water color by casting aside pre- 
liminary drawing and boldly outlined with the brush. Thomas Girtin, 
the acknowledged master of Turner, used color frankly for the first time, 
and Cox, Prout, DeWint, and Bonington made their contributions to the 
advance of the art. In Turner water color painting reached a climax of 
daring and luminosity. 

Modern tendencies in art in general have been reflected in a broaden- 
ing of methods and materials. England continues to produce a flourish- 
ing school of landscape artists, and France, Germany and the Scandi- 
navian countries express their national tendencies in this fluid and re- 
sponsive medium. American artists also have found many new possi- 
bilities in water color painting, which holds out the promise of results both 
brilliant and permanent. 


120 


Deere COFLO-R @PATNDIN GS Ter 





Wet Sands, Bamburgh. By W. Russell Flint (1880—) 


A rirmuy founded tradition of water color painting has been handed 
down to the present generation of British painters. In 1804 the establish- 
ment of the Society of Water Color Painters was the official recognition 
of a medium peculiarly expressive of the British scene and temperament. 
The conditions of climate and atmosphere were in themselves conducive 
to the growth of water color painting; the quick changes in atmosphere 
and light necessitated a medium that could catch the subtle moods of 
nature; the humidity of the air was favorable to the handling of the 
materials. 

The modern English school is well illustrated in any of its phases by 
so accomplished a craftsman as W. Russell Flint. Born in Edinburgh in 
1880, he has worked in many branches of the art. He manages his 
processes with sound judgment, and through absolute control of his 
medium retains a freshness and spontaneity that belies the complexity 
of his method. This is, according to A. L. Baldry, a matter of “building 
up by alternate laying in and scrubbing down until the effect he has in 
mind is rightly realized. As the work is always allowed to dry between 
each stage in its development, this drastic manner of dealing with it does 
not destroy the underpaintings, but only brings them into a suitable 
condition to receive the touches which he intends to place on them.” 

The two beach scenes in the Art Institute, “Golden Sands” and ‘“Wet 
Sands,” illustrate the atmospheric quality of his work and his ability to 
render temperature and humidity as well as light and shade. In this, as 
in the careful building up by which he achieves his results, he is in sym- 
pathetic tradition with earlier and present British tendencies. 


122 THE ART IN Shi DOE 0 Ff 2 LV 





The Shanty, Tampa Bay. By W. Emerton Heitland (1893—) 


‘THE INTER-RELATION of the arts is such that a change or advance in one 
branch is apt soon to be reflected in another. Thus the influence of the 
French Impressionists spread beyond the confines of painting in oils and 
affected water color as well, resulting in the heightened key now generally 
employed. The clean-cut vigor of the pioneer, as exemplified in the water 
colors of Winslow Homer, was perhaps the first contribution of the 
Americans in this field, but today cosmopolitan influences are to be traced 
in this branch of American art, as in others. A touch-and-go style and a 
sparkling quality are to be expected in the work of Americans, whether 
expressed by the technique which fancies strongly contrasted pats of color 
or by the method made familiar by John S. Sargent, in which values and 
quality are contrasted without sacrifice of clearness of color. 

W. Emerton Heitland works in the second manner. He was born in 
Superior, Wisconsin, in 1893, studied with Cecilia Beaux and Daniel 
Garber, and is known as an illustrator as well as a water color painter, in 
which capacity he has won recognition in the international exhibitions. 
“The Shanty, Tampa Bay” illustrates the boldness of his attack and his 
liking for tropical scenes. Another painting, ““The Road from Chester,” 
a slightly later work, is none the less effective, although the contrasts are 
less marked. 


Wier iweene GO LOR VPA TNT EN GS 123 





Boutique Fantastique. By Leon Bakst (1868-1924) 


Ir 1s only in the last few decades that we have come to know much of 
Russian art. Out of that country that once seemed so dark and unknow- 
able has come an art brilliant and original, owing something of a debt to 
French painting of the nineteenth century, but a greater one to the rich- 
ness of the Russian tradition and character. The work of the modern 
Russians is individual in the extreme, but most of them share in common 
a frankness of expression and an intimacy with the soil from which they 
have sprung. 

Among the artists whose work America has come to know best is 
Leon Bakst. Born in Petrograd in 1868, he studied at the Academy in that 
city and later in Moscow and Paris, where he spent many years. He was 
one of the founders of the ‘“‘Mir Iskousstva,” a society of Russian artists 
which numbered among its leaders Diaghlieff, the great master of the 
ballet, which is perhaps the form that has given the world the closest con- 
tact with Russian art. The career of Leon Bakst was intimately connected 
with the development of the ballet, and the bulk of his later work consists 
of designs for stage productions. The illustration reproduced is his stage 
setting for “Boutique Fantastique’; the museum ownsa number of costume 
sketches for this ballet, as well as for ““Cleopatre,” ‘““The Blue God,” and 
others. Like most of his countrymen, Bakst has a passion for rich color, 
but his imagination is disciplined by his archeological exactness. 

Boris Anisfeld, another leader among the Russian artists of today, is 
represented at the Institute by his stage designs for Prokofieff’s opera, 
“The Love of the Three Oranges.”” Remisoff, Iacovlev, and Soudeikine 
are also represented. 


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Poo eae SS LN THE PERMANENT COLLECTION 


Paintings marked * were not on exhibition at the time this guide was compiled. 


ACHENBACH, Oswald—German, 1827-1905. 


*201. SCENE ON THE CAMPAGNA, NEAR Rome. Signed Osw. Achenbach. Canvas 
1758 x 253@in. Nickerson Collection, 1900. 


ADAMS, Wayman—Ame rican, 1883—. 


435. JosepH PENNELL (Portrait). Signed Wayman Adams. Canvas 52 x 4314 
in. (Room 41.) Presented through the Friends of American Art by Mr. and 
Mrs. Frank G. Logan, 1918. (Illus. p. 114.) 


ADDAMS, Clifford—American, 1876—. 


I. Corraces 1n Wates. Water color gx11 in. (Room 44.) W. H. Tuthill 
Purchase Prize, 1922. 


ALEXANDER, John White—American, 1856-1915. 


360. Sun iicHT. Signed John W. Alexander, ’o9. Canvas 83% x 55% in. (Room 
48.) Presented by the Friends of American Art, 1910. (Illus. p. 101.) 


ALMA TADEMA, Laurens—English, 1836-1912. 
*254. PrEeK-a-Boo. Wood 22% x 157% in. Nickerson Collection, 1900. 
AMBERGER, Christoph—German (Augsburg), 1500-1561/2. 
21. Porrrair or A Man. Wood 16% x 13% in. (Room 32.) Purchased from 
the Robert Alexander Waller Memorial Fund, 1924. (Illus. p. 23.) 
AMBERGER, School of— 


20. Conrapt ZELLER (Portrait). Inscribed Conradt Zeller ft. b. Maister synes 
alters XX XI, and arms. Canvas 28% x 2134 in. (Room 32.) Purchased 
from the Simeon B. Williams Fund, 1922. 
ANDERSON, Karl—American, 1874—. 
*361. Ipiters: Aucust. Signed Karl Anderson. Canvas 49% x 5134 in. Pre- 
sented by the Friends of American Art, 1910. (Illus. p. 110.) 
ANDRE, Albert—French, 1869—. 


604. Les Caratans. Signed Albert André. Canvas 37x 43 in. (Room 45.) 
Purchased from the F. E. Ogden Fund, 1921. 


620. CiaupEeE Monet (in his Garden at Giverny) (Portrait). Signed Albert 
André. Canvas 51x 38in. (Room 41.) Purchased from the Stickney Fund, 
Nope 
603. AucusTEe Renorr (Portrait). Signed Albert Andre. Canvas 2636 x 3214 
in. (Room 41.) Purchased from the Stickney Fund, 1921. (Illus. p. 74.) 
APOL, Louis—Dutch, 1850—. 
*275, Twiticut. Signed Louis Apol. Water color 1114 x 2034 in. Nickerson 
Collection, 1900. 
ARTZ, David Adolphe Constant—Dutch, 1837-1890. 
#276. Warrtinc. Signed Artz. Water color 18 x 13 in. Nickerson Collection, 1900. 


125 


126 THE ART INS TUDU TES OF Cin LGA 


BACKHUYSEN, Ludolf—Dutch, 1631-1708. 
18. Marine. Canvas 1938 x 241% in. (Room 32.) Presented by R. Hall Mc- 
Cormick, 1895. 
BAKER, Martha Susan—American, 1871-1911. 


500. Insoucitance. Signed Martha S. Baker, 1906. Canvas 43% x 30 in. finer 
3.) Presented by the Artist's Family, 1913. 


sor. Virointa Crark. Signed MarthaS. Baker. Pastel 18x15in. (Room 45.) 
Purchased from the F. E. Ogden Fund, 1913. 
BARGUE, Charles—French. Died 1883. 
176. THE Prayer To ALtan. Canvas 18% x 1234 in. (Room 4o.) 4. 4. Munger 
Collection, 1901. 
BARTLETT, Frederic Clay—American, 1873—. 


436. Briue Rarrers. Signed Frederic Clay Bartlett. Canvas 28 x 30in. (Room 
46.) Presented by the Friends of American Art, 1919. 


562. Great WALLS; THE GREAT WALL or Cuina. Lunette, canvas 144 x 138 in. 
(Burnham Library.) Presented by the Artist, 1920. 


563. Great WaALLs; WALLS OF STEEL SCRAPING THE SKY. Lunette, canvas 144 x 

138 in. (Burnham Library.) Presented by the Artist, 1921. 
BEAL, Gifford—American, 1879—. 

363. THe Purr or Smoke. Signed Gifford Beal, ’12. Canvas 36% x 48% in. 

(Room 48.) Presented by the Friends of American Art, 1912. 
BEAUX, Cecilia—American, 1863—. 

466. THe Danctne Lesson. Signed Cecilia Beaux. Canvas 8144 x 46% in. 
(Room 40.) Purchased from the Alexander A. McKay Fund.for the Munger 
Collection, 1922. 

BEECHEY, William—English, 1753-1839. 

*72, Tuomas Kire (Portrait). Canvas 2914 x 24% in. Presented by Mrs. Frank- 
lin Rudolph and Friends, 1923. 

BELLOWS, George Wesley—American, 1882-1925. 


364. Love or Winter. Signed Geo. Bellows. Canvas 3214 x 40% in. (Room 
48.) Presented by the Friends of American Art, 1914. 


467. My Moruer (Portrait). Signed Geo. Bellows. Canvas 83 x 49in. (Room 
48.) Presented by the Friends of American Art, 1923. (Illus. p. 115.) 
BENSON, Frank Weston—American, 1862—. 


365. A Rainy Day. Signed F. W. Benson, 1906. Canvas 25 x30 in. (Room 
48.) Presented by the Friends of American Art, tg910. (Illus. p. 105.) 


469. Stitt Lire Decoration. Signed F. W. Benson. Canvas 45 x 60 in. (Room 
45.) Purchased from the Mr. and Mrs. Frank G. Logan Prize Fund and the 
W.L. Mead Fund, 1922. 
BERCHEM, Nicolaes—Dutch, 1620-1683. 
19. Saint Peter (Head). Canvas 30% x 2314 in. (Room 32.) Purchased from 
the Simeon B. Williams Fund, 1918. 
BESNARD, Albert Paul—French, 1849—. 
621. By tHE Lake. Signed A. Besnard. (Room 45.) Presented by Foseph 
Winterbotham, 1924. 


Sor. Grri’s Heap (Le Repos). Signed A. Besnard. Oil on cardboard 19% x 24 
in. (Room 26.) Palmer Collection, 1922. 


Crear GUE? OF PAEN TINGS 127 


802. Woman’s Heap (in Conflicting Light). Signed A. Besnard. Pastel 1534 x 
1234 in. (Room 26.) Palmer Collection, 1922. 
BETTS, Louis—American, 1873—. 
504. Wiriiam M. R. Frencu (Portrait), director of the Art Institute of Chicago, 


1879-1914. Signed Louis Betts. Canvas 51 x35in. (Room3.) Presented 
by Mrs. Wm. M. R. French, 1908. 


437. Mirapy. Signed Louis Betts. Canvas 59x 40 in. (Room 3.) Presented 
by the Friends of American Art, 1919. 


*565. Mrs. Evia Firacc Youn (Portrait). Canvas 57x41 in. Presented by the 
Chicago Normal School, 1922. 


BIERSTADT, Albert—American, 1829/30-1902. 
*203. San RaFraet, Carirornia. Signed A. Bierstadt. Canvas 317% x 4834 in. 
Nickerson Collection, 1900. 
BLANCHE, Jacques Emile—French, 1861—. 
332. La Voyaceuse. Signed J. E. Blanche. Canvas 7914 x 55 in. (Room 39.) 
Presented by Martin A. Ryerson, 1913. (Illus. p. 73.) 
BLOMMERS, Barend Johannes—Dutch, 1845—. 
*277. Sewinc. Signed Blommers. Water color 14x 18 in. Nickerson Collection, 
1900. 
BOGERT, George H.—American, 1864—. 
546. Moon ticut, Frencu Vitiace. Signed George H. Bogert. Canvas 28 x 36 
in. (Room 52a.) Presented by Milton L. Strauss, 1919. 
BONHEUR, ROSA—French, 1822-1899. 
*179. CatTTLe aT Rest on HILLSIDE IN THE ALps. Signed Rosa Bonheur, 1885. 
Canvas 2154 x 26% in. 4. A. Munger Collection, 1901. 
*204. Cow anD Doc. Signed R. Bonheur. Canvas 1914 x 25% in. Nickerson 
Collection, 1900. 
BONNAT, Léon—French, 1833-1922. 


142. Henry Fiexp (Portrait). Signed L. Bonnat, 1896. Canvas 5114 x 35% in. 
(Room 38.) Presented by Marshall Field, 1897. 
*630. Lairrve ITavian Girt witH TamBourine. Signed Ln. Bonnat, 1892. Can- 
vas 5548 x 34% in. Presented by the Family of Orrin W. Potter, 1907. 


BORCH, Gerard ter—Dutch, 1617-1681. 
15. THe Music Lesson. Signed B. Canvas 25 x 1914 in. (Room 32.) Pre- 
sented by Charles T. Yerkes, 1891. (Illus. p. 15.) 


BOTKE, Jessie Arms—American, 1883—. 
438. GEESE AND Ho.ttyHocks. Signed Jessie Arms Botke. Canvas 28 x 351% in. 
(Room 46.) Presented by the Friends of American Art, 1918. (Illus. p. 116.) 


BOTTICELLI, Sandro (Alessandro di Mariano Filipepi)—Florentine, 1444/5-15 10. 


(Copy.) These two frescoes in the Louvre (Nos. 1297, 1298) were originally 

~in the Villa Lemmi, near Florence. They were probably painted on the 
occasion of the marriage of Lorenzo Tornabuoni with Giovanna degli Albizzi 
(1486). The copies were made by Mary Fairchild Macmonnies. 


53. GIOVANNA DEGLI ALBizz1 (Venus and the Three Graces). Copied in 1891. 
Canvas 83 x 112 in. (Room H3.) Presented by Robert Allerton, 1907. 

54. Lorenzo ToRNABUONI AND THE LIBERAL Arts. Copied in 1893. Canvas 
92 x 103% in. (Room H3.) Presented bv Frederic C. Bartlett, 1907. 


128 THE ART INSTITU LE OF CH Gare 


BOUGUEREAU, William Adolphe—French, 1825-1905. 
186. THe Batuers. Signed W. Bouguereau, 1884. Canvas 79 x 5034 in. (Room 
40.) A. A. Munger Collection, 1901. 


BOUTET DE MONVEL, Louis Maurice—French, 1851-1913. 

333. Joan or Arc aT THE Court oF Cuinon. Signed M. Boutet de Monvel 
(1910). Canvas 130x270 in. (Room G31.) Presented by the Family of 
Edward L. Brewster, 1911. (Illus. p. 70.) 

BRADFORD, William—American, 1830-1892. 

*206. Arctic WHALERS HomMewarpD Bounb. Signed Wm. Bradford, N. Y. Canvas 
204% x30in. Nickerson Collection, 1900. 
BRANGWYN, Frank William—English, 1867—. 


320. PiLors, Puerto DE Los Pasajes, Spatn. Signed Frank Brangwyn. Can- 
vas 40x50 in. (Room 39.) Purchased from the Stickney Fund, 1902. 


(Illus. p. 39.) 
BRETON, Jules Adolphe—French, 1827-1906. 


103. AT THE Fountain. Signed Jules Breton, 1872. Canvas 23% x 15% in. 
(Room 38.) Henry Field Memorial Collection, 1917. 


102. On THE Roap1n Winter. Signed Jules Breton, Courriéres, 1884. Canvas 
31x 48 in. (Room 38.) Henry Field Memorial Collection, 1917. 


ol. THE Sonc oF THE Lark. Signed Jules Breton, Courriéres, 1884. Canvas 
44 x 334% in. (Room 38.) Henry Field Memorial Collection, 1917. (Illus. 


p. 58.) 
BRIDGMAN, Frederic Arthur—American, 1847—. 
*207. AwaiTinc His Master. Signed F. A. Bridgman, 1881. Canvas 16%4x1034 
in. Nickerson Collection, 1900. 
BROWN, Roy Henry—American, 1879—. 
367. THe Dunes. Signed Roy Brown. Canvas 45x58 in. (Room 46.) Pre- 
sented by the Friends of American Art, 1915. 
BROWNE, Charles Francis—American, 1859-1920. 
439. Sitvery Nicut. Signed C. F. Browne, 1916. Canvas 3514 x 47% in. 
(Room 48.) Presented by the Friends of American Art, 1919. 
BROWNE, George Elmer—American, 1871—. 


*368. THe Port, Dovarnenez, Brittany. Signed Geo. Elmer Browne. Pre- 
sented through the Friends of American Art by Dr. F. W. Gunsaulus, 1910. 


II. Tetruan, Morocco. Signed Geo. Elmer Browne. Water color 11% x 15% 
in. (Room 44.) W.H. Tuthill Purchase Prize, 1923. 
BRUSASORCI, Domenico—Veronese, 1494-1567. 
* ar. Music. Canvas 4154 x 39 in. (Illus. p. 3.) Purchased 1889. 
BRUSH, George De Forest—American, 1855—. 
505. A Famity Group. Signed George De Forest Brush, 1907. Canvas 31 x 39 
in. (Room 4o.) Presented by Philip D. Armour, 1908. (Illus. p. 100.) 
BURROUGHS, Bryson—American, 1869—. 


440. THE FIsHERMEN. Signed Bryson Burroughs, 1915. Canvas 24 x 36 in. 
(Room 52a.) Presented by the Friends of American Art, 1920. (Illus. p. 108.) 


CraeurAei,OG UEP OF PAIN TUN GS 129 


BUTLER, Edward Burgess—American, 1853—. 
551. Crearinc Up; Lonc Istanp Sounp. Signed Edward B. Butler, 1917. Can- 
vas 25 x 30in. (Room 52a.) Presented by the Artist at the Trustees’ Request, 
1919. 
CABANEL, Alexandre—French, 1824-1889. 
*208. IpEaL Heap, OrienTAL. Signed Alex. Cabanel. Wood 1256x9% in. 
Nickerson Collection, 1900. 
CAMERON, Edgar Spier—American, 1862—. 
369. CasBareT Breton. Signed E. Cameron. Canvas 34% x 40% in. (Room 
52.) Presented by the Friends of American Art, 1917. 
CAPPELLE, Jan van de—Dutch, 1624/s5-1679. 
3. Coast SCENE WITH SHippiInc. The signature ““W. Van der Velde F. 1659” 
is spurious. Canvas 214%x 19% in. (Room 32.) Presented by Byron L. 
Smith, 1891. 
CARLSEN, Emil—American, 1853—. 


*370. Stitt Lire. Signed Emil Carlsen, 1914. Canvas 18x15 in. Presented 
through the Friends of American Art by Mrs. Chauncey F. Blair, 1916. 


506. Srivz Lire (Kitchen Utensils). Canvas 24x 20in. (Room 45.) Purchased 
from the B. F. Ferguson Annuity Fund, 1908. 


goo. THe Mriracutous Draucut. Signed Emil Carlsen, 1921. Canvas 39% x 
45in. (Room 47.) Walter H. Schulze Memorial Collection, presented by Mr. 
and Mrs. Paul Schulze, 1924. (Illus. p. 99.) 
CARRERA, Augustin—French, 1878—. 
*606. MarseirteE Harsor. Canvas25 x 31%in. Signed A.Carrera. Purchased 
from the Thomas D. Lowther Fund, 1921. 
CASSATT, Mary—American, 1845—. 


803. MorHer anp CuiLp (La Jeune mére). Signed Mary Cassatt. Canvas 
29 x 33 in. (Room 26.) Palmer Collection, 1922. 


507. La TotiLetrre. Signed Mary Cassatt. Canvas 39x 26 in. (Room 45.) 

Purchased from the W. Moses Willner Fund, 1910. (Illus. p. 93.) 
CAZIN, Jean Charles—French, 1841-1901. 

804. ExpuLsion rrom Epen. Signed J. C. Cazin. Canvas 30x 42 in. (Room 
25.) Palmer Collection, 1922. 

805. Harvest Fievp. Signed J. C. Cazin. Canvas 32 x 3914 in. (Room 25.) 
Palmer Collection, 1922. 

209. THE IsoraTtep Haystack. Signed J. C. Cazin. Canvas 141% x 1634 in. 
(Room 42.) Nickerson Collection, 1900. 

806. JupirH Leavinc THE WALLS oF Betuutia. Signed J. C. Cazin. Canvas 
100x117 in. (Room 25.) Palmer Collection, 1922. (Illus. p. 64.) 

106. Lanpscape. Signed J. C. Cazin. Canvas 1234 x 16% in. (Room 38.) 
Henry Field Memorial Collection, 1917. 

107. Lanpscape. Signed J. C. Cazin. Canvas 2476 x 2336 in. (Room 38.) 
Henry Field Memorial Collection, 1917. 

105. Ocroper Day. Signed J. C. Cazin. Canvas 151x181 in. (Room 38.) 
Henry Field Memorial Collection, 1917. 

335. REPENTANCE OF SIMON Peter. Signed J. C. Cazin, 1880. Canvas 55 x 66 
in. (Room 42.) Purchased from the W. Moses Willner Fund, 1916. 


130 THE ART INSTITUTE? OF, Cite ae 


334. Sorirupe. Signed J. C. Cazin. Canvas 2354 x29 in. (Room 39.) Pre- 
sented by Fohn S. Norton, 1891. 


807. THeocritus. Signed J.C. Cazin. Canvas 29 x 24in. (Room 25.) Palmer 
Collection, 1922. 


104. TOBIAS AND THE ANGEL. Signed J. C. Cazin, 1878. Canvas 23 x 33% in. 

(Room 38.) Henry Field Memorial Collection, 1917. 

CHARDIN, Jean Baptiste Siméon—French, 1699-1779. 

56. Les Orurs (Still Life). Signed Chardin. Canvas 314% x 35% in. (Room 

39.) Purchased from the Stickney Fund, 1924. (Illus. p. 44.) 

CHARLEMONT, Hugo—Austrian, 1850—. 

*162. THe Roya Lisrary. Signed Hugo Charlemont, 1883. Wood 1236 x 1638 
in. A. A. Munger Collection, 1901. 

CHASE, William Merritt—American, 1849-1916. 

441. AN AFTERNOON StroLL. Signed Wm. M. Chase. Canvas 46x 49 in. 
(Room 4.) Presented through the Friends of American Art by William O. 
Goodman, 1917. 

508. Axice. Signed Wm. M. Chase. Canvas 68% x 4958 in. (Room 4o.) Pre- 
sented by Ernest Hamill, 1893. (Allus. p. 95.) 

371. NortH River SHap. Signed W. M. Chase. Canvas 29 x 36 in. (Room 
46.) Presented by the Friends of American Art, 1914. 

CHURCH, Frederick Edwin—American, 1826-1900. 

*o47. SouTH America. Signed F. E. Church, ’57. Canvas 24x 36in. Presented 
by Mrs. M. Fennette Hamlin in memory of Mr. and Mrs. Louis Dana Webster, 
1918. 

*211. Sunset, West Rock, New Haven. Signed F. E. Church. Canvas 14 x 19% 
in. Nickerson Collection, 1900. 

CLARENBACH, Max—German, 1880—. 

617. In THE GarDeEN. Signed M. Clarenbach. Canvas 35 x 39 in. (Room 45.) 

Presented by Foseph Winterbotham, 1922. 

CLARK, Alson Skinner—American, 1876—. 

*sog. THe Corree-House. Signed A. S. Clark. Canvas 38 x 30 in. Presented 
by Mr. and Mrs. Alson E. Clark, 1915. 

CLARKSON, Ralph Elmer—American, 1861—. 

372. Nouvart Dzeron, A DauGcuHTer or ARMENIA. Signed Ralph Clarkson, 
1912. Canvas80x 40in. (Room 46.) Presented by the Friends of American 
Art, 1912. 

CLAYS, Paul Jean—Belgian, 1819-1900. 

*166. In Hottanp WarTers on A SuMMER Day. Signed P. J. Clays. Wood 
294% x 23% in. A. A. Munger Collection, 1901. 

*609. SHippInG. Canvas 22x 30% in. Bequest of Mrs. F. C. Black, 1921. 

COL, Jean David—Belgian, 1822-1900. 

*336. A WRANGLE OVER CarDs IN A TAvERN. Signed David Col, 1874. Wood 
2158 x 3014 in. Presented by Fohn Cudahy, 1889. 

COLE, Thomas—American, 1801-1848. 


*213. Lanpscape. Indistinct signature with date 1839. Canvas 2254 x 1854 in. 
Nickerson Collection, 1900. 


Oral AO GUE (Ov sPAMIN IeIEN G'S 131 


COLMAN, Sam—American, 1832-1920. 

*214. AuTuMN LanpscaPe. Signed Sam Colman. Canvas 12x 22% in. Nicker- 
son Collection, 1900. 

CONSTABLE, John—English, 1776-1837. 

111. Lanpscape. Canvas 2814 x36 in. (Room 38.) Henry Field Memorial 
Collection, 1917. 

750. SToKE-BY-NAYLAND (Suffolk). Canvas 49 x 66 in. (Room 27.) W. W. 
Kimball Collection, 1922. (Illus. p. 37.) 

COPLEY, John Singleton—American, 1737-1815. 


564. Brass Crossy, Lorp Mayor or Lonpon (Portrait). Indistinct signature. 
Canvas 88% x54!%4 in. (Room 53.) Purchased from the Alexander A. 
McKay fund for the Munger Collection, 1922. (Illus. p. 81.) 


373. THomas Witi1AM Vawprey (Portrait). Canvas 35 x 281% in. (Room 53.) 
Presented by the Friends of American Art, 1915. 
CORNEAU, Eugéne—French contemporary. 
*602. Nupe on FLowerep Cuintz. Signed E. Corneau, ’20. Canvas 25 x 1914 
in. Purchased 1921. 
COROT, Camille—French, 1796-1875. 


808. ARLEUX-PALLUEL, THE BRIDGE oF Trysts (Le Pont des rendez-vous). 
Signed Corot. Canvas 2314 x 28% in. (Room 25.) Palmer Collection, 1922. 


751. BatHinc Nympus AnD CuiLp (Landscape). Signed Corot. Canvas 32 x 40 
in. (Room 27.) W.W. Kimball Collection, 1922. 


810. Les Dunes De Zuypcoote. Signed Covot. Canvas 30x 50% in. (Room 
25.) Palmer Collection, 1922. 


108. THE FrerryMan (Le Passeur). Signed Corot. Canvas 36x 5234 in. (Room 
38.) Henry Field Memorial Collection, 1917. 


811. InreRRuPTED Reapinc (La Lecture interrompue). Signed Corot. Canvas 
36x 25% in. (Room 25.) Palmer Collection, 1922. 


*181. Just Berore Sunrise. Stamped “Vente Corot.” Canvas 36x 52% in. 
A. A. Munger Collection, 1901. 


109. Lanpscapr. Signed Corot. Canvas 13x 214 in. (Room 38.) Henry 
Field Memorial Collection, 1917. 


809. LANDSCAPE WITH Ficures, Eventnc. Signed Corot. Canvas 251% x 314 
in. (Room 25.) Palmer Collection, 1922. 


812. OrpHeus SaLuTinG THE Licut (Orphée saluant la lumiére). Signed Corot, 
1865. Canvas 77x 524% in. (Room 25.) Palmer Collection, 1922. 


216. THESENTINEL. Signed Corot. Canvas 2576 x 2138in. (Room 42.) Nick- 
erson Collection, 1900. 


813. Witte p’Avray (La Vache et sa gardienne). Signed Corot. Canvas 3114 x 
24 in. (Room 25.) Palmer Collection, 1922. (Illus. p. 46.) 


110. Wounpep Eurypice. Signed Corot. Canvas 22x 1614 in. (Room 38.) 
Henry Field Memorial Collection, 1917. 
COSTIGAN, John E.—American, 1888—. 
566. SHEEP AT THE Brook. Signed J. E. Costigan. Canvas 334 x39 in. 
(Room 46.) Charles S. Peterson Purchase Prize, 1922. 
*II]. Sueep at THE Gate. Signed J. E. Costigan. Water color 12% x 18% in. 
Charles E. Kremer Purchase Prize, 1923. 


132 TH Ee ART OPENSSL UTE | O° Foe: Che ROr ae 


COTTET, Charles—French, 1863—. 


*608. On THE Murano Boat, Venice. Composition board 20 x 2636 in. Pur- 
chased from the Huntington W. Fackson Fund, 1921. 


607. Woman’s Portrait. Signed Ch. Cottet. Canvas 2334x19 in. (Room 
45.) Purchased from the H. F. Willing Fund, 1921. 
COURBET, Gustave—French, 1819-1877. 
184. An A.pineE Scene. Signed ’74, G. Courbet. Canvas 23/%x 28% in. 
(Room 40.) 4. 4. Munger Collection, 1901. (Illus. p. 53.) 
COUTURE, Thomas—French, 1815-1879. 
217. A Younc Woman. Canvas 2214%4x 17% in. (Room 42.) Nickerson Collec- 
tion, 1900. 
CRANACH, Lucas the Elder—German, 1472-1553. 
22. NIGHT IN THE GARDEN OF GETHSEMANE. Signed with the dragon. Panel 
2134 x 1234 in. Presented by the Antiquarian Society, 1907. (Illus. p. 22.) 
CRANE, Bruce—American, 1857—. 
gor. Earty Winter; WESTCHESTER County. Signed Bruce Crane. Canvas 
2514 x 35% in. (Room 47.) Walter H. Schulze Memorial Collection, pre- 
sented by Mr. and Mrs. Paul Schulze, 1924. 
DAGNAN-BOUVERET, Pascal Adolphe Jean—French, 1852—. 
814. Woman From Brittany (La Bretonne). Signed P. A. J. Dagnan-B., 1886. 
Canvas 14% xi1in. (Room 25.) Palmer Collection, 1922. 
DAINGERFIELD, Elliott—American, 1859—. 
548. Dracon VALtey. Signed Elliott Daingerfield. Canvas 20 x 22 in. (Room 
52a.) Presented by Milton L. Strauss, 1919. 
DANNAT, William Turner—American, 1853—. 


510. In a Sacristy 1n Aracon. Signed W. T. Dannat. Canvas 53% x 56% in. 
(Room 53.) Presented by the Opera Association, 1887. 


*512. Stitu Lire (Tomatoes, Peas and Peach). Signed W. T. Dannat, ’82. Can- 
vas 161% x 26in. Presented by the Opera Association, 1887. 


*s11. STuDY OF AN ARAGONESE SMUGGLER. Signed W. T. Dannat. Canvas 32 x 
2334 in. Presented by the Artist, 1887. 
DAUBIGNY, Charles Francois—French, 1817-1878. 
113. LanpscapeE witH Houses. Signed Daubigny. Canvas 1034x157 in. 
(Room 38.) Henry Field Memorial Collection, 1917. 
815. La Matson DE LA Mere Bazor, Soir. Signed Daubigny, 1874. Canvas 
36x 731n. (Room 25.) Palmer Collection, 1922. (Illus. p. 52.) 
112. THe Marsn. Signed Daubigny, 1871. Wood 13% x 227£in. (Room 38.) 
Henry Field Memorial Collection, 1917. 
218. OnTHE Marne. Signed Daubigny, 187(8?). Wood 15% x 2634 in. (Room 
42.) Nickerson Collection, 1900. 
DAUMIER, Honoré—French, 1808-1879. 
622. Don QurIxoTE AND THE WINDMILLs. Signed H. D. Panel 1334 x 27% in. 
(Room 42.) Presented by Charles H. Worcester, 1925. (Illus. p. 48.) 
DAVEY, Randall—American, 1887—. 


375. FLowers. Signed Randall Davey. Canvas 32x 26in. (Room 48.) Pre- 
sented by the Friends of American Art, 1915. 


Cee tel. G Ui Ob PA UNVEDN GS 133 


*374. A Younc Lapy. Signed Randall Davey. Canvas 34x 26in. Presented by 
the Friends of American Art, 1915. 
DAVID, Jacques Louis—French, 1748-1825. 
57- Cyitp AnD Doc. Signed David. Canvas 23% x19 in. (Room Hi18 B.) 
Presented by Edouard ‘fonas, 1923. 
DAVIES, Arthur B.—American, 1862—. 


567. An ANTIQUE Orizon. Signed A. B. Davies. Canvas 2514 x 40 in. (Room 
45.) Presented by Mrs. Emily Crane Chadbourne, 1918. 


*376. Maya, Mirror or Ittusions. Canvas 26x 40 in. Presented by the Friends 
of American Art, 1911. (Illus. p. 106.) 


*s69. Woman’s Heap. Canvas 1934 x 1934 in. Presented by Mrs. Emily Crane 
Chadbourne, 1918. 


570. Woman’s Heap. Canvas 2514 x 1734 in. (Room 45.) Presented by Mrs. 
Emily Crane Chadbourne, 1918. 
DAVIS, Charles Harold—American, 1856—. 


*513. THe Crosse or Day. Signed C. H. Davis, 1889. Canvas 1776 x 26 in. 
Presented by the Opera Festival Association, 1889. 


go2. THe Nortuwest Winp. Signed C. H. Davis. Canvas 49% x 39% in. 
(Room 47.) Walter H. Schulze Memorial Collection, presented by Mr. and 
Mrs. Paul Schulze, 1924. 
DEARTH, Henry Golden—American, 1863-1918. 
377. VIRGIN AND Cuitp. Signed H. Dearth. Canvas 4514 x 32in. (Room 48.) 
Presented by the Friends of American Art, 1914. 
DECAMPS, Alexandre Gabriel—French, 1803-1860. 


114. STREET ScENE IN Napues. Canvas 1914 x15 in. (Room 38.) Henry Field 
Memorial Collection, 1917. 


115. Stupy or Pics. Paper mounted on canvas 107% x 1334 in. (Room 38.) 
Henry Field Memorial Collection, 1917. 
DEGAS, Edgar—French, 1834-1917. 
817. Barrier Girus (On the Stage). Signed Degas. Pastel 2214 x 16in. (Room 
26.) Palmer Collection, 1922. 
816. THE Mornine Batu (Femme au bain). Signed Degas. Pastel 2734 x 17 
in. (Room 26.) Palmer Collection, 1922. 
DE HAAS, Johannes H. L.—Dutch, 1832-1908. 
*402. CaTTLe IN Fietp. Signed J. H. L. de Haas. Wood 23144 x17% in. Pre- 
sented by Martha S. Hill, 1910. 
DE HAAS, Maurits Frederik Hendrik—Dutch, 1832-1895. 
*220. Marine. Signed M. F. H. de Haas. Canvas 16% x 14% in. Nickerson 
Collection, 1900. 
DELACROIX, Eugéne—French, 1798-1863. 
819. ArAB Riper ATTACKED BY Lion. Signed Eug. Delacroix. Canvas 17% x 
14% in. (Room 25.) Palmer Collection, 1922. 
221. CnHess-PLayers OF JERUSALEM. Signed Eug. Delacroix. Canvas 18%x 
21% in. (Room 42.) Nickerson Collection, 1900. 
222. CLeopaTra. Signed Eug. Delacroix. Canvas 1034 x14 in. (Room 42.) 
Nickerson Collection, 1900. 


134 THE A:kRT INSTITU TR Or Cr tae 


818. DANTE AND VirciL. Canvas 13% x 15% in. (Room 25.) Palmer Collec- 
tion, 1922. (Illus. p. 47.) 

820. THe Lion Hunt. Signed Eug. Delacroix, 1861. Canvas 30x 384 in. 
(Room 25.) Palmer Collection, 1922. 


117. Ticer. Signed Eug. Delacroix. Canvas 8x15 in. (Room 38.) Henry 
Field Memorial Collection, 1917. 


116. Wounbep Lioness. Signed Eug. Delacroix. Canvas 131% x 22% in. (Room 
38.) Henry Field Memorial Collection, 1917. 
DENIS, Maurice—French, 1885—. 
605. IntTHEForest. Signed M AVD, 1903. Canvas 24x 20% in. (Room 45.) 
Purchased from the A. A. Sprague Fund, 1921. 
DETAILLE, Edouard—French, 1848-1912. 


118. Mountep Orricer (Duc de Chartres). Signed Edouard Detaille, 1877. 
Canvas 1844 x15 in. (Room 38.) Henry Field Memorial Collection, 1917. 


*185. THE Reconnotssance. Signed Edouard Detaille, 1875. Canvas 20% x 28 
in. A. A. Munger Collection, 1901. 
DEWING, Thomas Wilmer—American, 1851—. 
378. Lapy In GRreEN AND Gray. Signed T. W. Dewing. Canvas 24 x 20 in. 
(Room 48.) Presented by the Friends of American Art, 1911. 
DE WOLF, Wallace L.—American, 1854—. 
555. LaAnpscaPeE. 


*cc4. Sace-Brusu, California. Signed W. L. De Wolf, 1919. C anvas 25 x 30 in 
Presented by the Artist, 1919. 


DIAZ, Narcisse Virgilio—French, 1807-1876. 


120. LANDSCAPE WITH SMALL Ficures. Wood 10% x 1334 in. (Room 38.) 
Henry Field Memorial Collection, 1917. 


752. Ponp1n THE Woops. Signed N. Diaz, 1862. Canvas 26x35 in. (Room 
27.) W.W. Kimball Collection, 1922. 


119. THREE Litrte Giris (with a Dog). Wood 154% x 10% in. (Room 38.) 
Henry Field Memorial Collection, 1917. 


821. Woop Inrertor. Signed N. Diaz, 66. Canvas 18% x 26in. (Room 25.) 
Palmer Collection, 1922. 
DICKINSON, Sidney E.—American, 1890—. 
442. Unrest (Nude). Signed Sidney E. Dickinson. Canvas 62 x 46in. (Room 
3.) Presented by the Friends of American Art, 1919. 
DOMINGO y MARQUES, Francisco—Spanish, 1842—. 


*122. ACourtier. Signed F. Domingo, Paris, 1880. Wood 197% x 13in. Henry 
Field Memorial Collection, 1917. 


121. Lazy Spain. Signed F. Domingo, 1878. Wood 854 x 1054 in. (Room 38.) 
Henry Field Memorial Collection, 1917. 
DOUGHERTY, Paul—American, 1877—. 
379. Storm Quiet. Signed Paul Dougherty, 1907. Canvas 36% x 48% in. 
(Room 40.) Presented by the Friends of American Art, 1914. 
DUDLEY, Frank Virgil—American, 1868—. 


559. Duneuanp. Signed Frank V. Dudley. Canvas 3734 x 4934 in. (Room 
52.) Presented by Gracia M. F. Barnhart in memory of Elizabeth French 
Barnhart, 1921. 


Crash a LOGUE O:F (PAIL N TIN GS 135 


DUDLEY, Katherine—American, 1884—. 
380. Exvira. Canvas 18x12 in. (Room 45.) Presented by the Friends of 
American Art, 1915. | 
DUPRE, Jules—French, 1811-1889. 
123. Barks FLEEING eee THE STORM: THREE SaiLs. Signed Jules Dupré. 
Canvas 22 x 3336 in. |(Room 38.) Henry Field Memorial Collection, 1917. 
126. COTTAGE BY Roapsipe; Stormy Sky. Signed Jules Dupré. Canvas 107% x 
14 in. (Room 38.) Henry Field Memorial Collection, 1917. 
*225. Evenine aT L’Iste-Apam. Signed Jules Dupré. Canvas 1314 x 22 in. 
Nickerson Collection, 1900. 


125. OnTHERoap. Signed Jules Dupre, 1858. Wood 15% x 20in. (Room 38.) 
Henry Field Memorial Collection, 1917. 


124. Two Boats FLee1Inc Before THE Storm. Signed J. D. Canvas 107% x 
137% in. (Room 38.) | Henry Field Memorial Collection, 1917. 
DUVENECK, Frank—American, 1848-1919. 
*443. J. Frank Currier (Portrait). Signed F. Duveneck. Canvas 24% x 21 in. 
Presented by the Friends of American Art, 1917. (Illus. p. 94.) 
DYCK, Anthony van—Flemish, 1599-1641. 


23. Hetrena Du Bots (Portrait). Canvas 39x 17¥%in. (Room 32.) In memory 
of William T. Baker, presented by his children, Charles H. Baker, Howard W. 
Baker, Bertha Baker Alling, and Henry D. Baker, 1905. (Illus. p. 10.) 


25. SAMSON AND De.iau (Sketch). Panel 1934 x 2534 in. (Room 42.) Pur- 
chased from the Robert Alexander Waller Memorial Fund, 1923. 
DYCK, Anthony van, School of 
24. THe Vircin, Inrant Curist AND ST. CATHERINE. Wood 39 x 32% in. 
(Room 32.) Presented in memory of Albert Arnold Sprague by Nancy Atwood 
Sprague, 19t5. 
DYER, Charles Gifford—American, 1851-1912. 
*o14. A XVII Century Inrerior (Still Life). Signed Charles G. Dyer, Munich, 
1877. Canvas 37x 28 in. Bequest of Henry W. King, 1902. 
EARL, Ralph—American, 1751-1801. 
470. MorHer AND CuiLp. Canvas 50x40 in. (Room 53.) Presented through 
the Friends of American Art by William O. Goodman, 1922. 
EAST, Alfred—English, 1849-1913. 
321. THe Morninc Moon. Signed Alfred East. Canvas 39}4 x 504 in. (Room 
4.) Presented by Ira Nelson Morris, 1910. 
ELLIOTT, Charles Loring—American, 1812-1868. 
sis. H. W. Hewirr (Portrait). Canvas 27 x 2134 in. (Room 53.) Purchased 
from the H. fF. Willing Fund, 1902. 
ENNIS, George Pearse—American, 1884—. 
IV. Tue Tort Brivce. Signed Ennis. Water color 1514 x 1934 in. (Room 
44.) Charles E. Kremer Purchase Prize, 1922. 
ESPAGNAT, Georges d’—French, 1870—. 


*7¢4. Woops: VILLAGE CHuRCH IN Backcrounp. Signed with monogram Gd E. 
Canvas 27x33 in. W.W. Kimball Collection, 1922. 


136 THE ART INSTITU PEO 8s CH BC 


FAED, John—British (Scottish), 1820-1902. 


160. THE Younc Ducuess. Signed J. Faed, ’70. Canvas 46x 36 in. (Room 
40.) A. A. Munger Collection, 1901. (Illus. p. 38.) 


FANTIN-LATOUR, Henri—French, 1836-1904. 


337. Epouarp Manet (Portrait). Signed “& mon ami Manet, Fantin, 1867.” 
Canvas 46x 35% in. (Room 41.) Purchased from the Stickney Fund, 1904. 
CLitusiop. Obs) 


FERRARIS, Artur de—Hungarian, 1856—. 


772. W.W. Kimpa.t (Portrait). Canvas 41 x 33 in. (Room 27.) W.W. Kim- 
ball Collection, 1922. 


*264. SamueL Mays Nickerson (Portrait), trustee of the Art Institute 1879-1914. 
Signed Ferraris, 1901. Canvas 30x 24 in. Presented by Mr. and Mrs. 
S. M. Nickerson, 1901. 


FLES, Etha—Dutch, 1857—. 

#278, WinTER Eveninc. Signed Etha Fles. Pastel 736x13%4 in. Nickerson 
Collection, 1900. 

FLINT, W. Russell—British, 1880—. 


* V. GoLpen Sanps, BamMBuRGH. Signed W. Russell Flint. Water color 1934 x 
26% in. Presented by Mr. and Mrs. L. L. Valentine, 1923. 


* VI. Wer Sanps, BaAmBurcH. Signed W. Russell Flint. Water color 1934 x 2634 
in. Brown and Bigelow Purchase Prize, 1922. 

FOOTE, Mary—American Contemporary. 

*381. An Otp Lapy (Portrait). Signed Mary Foote. Canvas 36x25 in. Pre- 
sented by the Friends of American Art, 1913. 

FORAIN, Jean Louis—French, 1852—. 

*623. SENTENCED FoR Lire. Signed Forain. Canvas 2544 x31% in. Presented 
by Foseph Winterbotham, 1923. (Illus. p. 72.) 

FORBES, James—Scottish, born about 1800. 

322. ALEXANDER N. Futterrton, father of the donor (Portrait). Canvas 5234 x 

39% in. (Fullerton Hall Foyer.) Presented by Charles W. Fullerton, 1898. 


FORTUNY y CARBO, Mariano—Spanish, 1838-1874. 
*127, CAvaLierR. Wood 536x4in. Henry Field Memorial Collection, 1917. 
FOSTER, Ben—American, 1852—. 
382. LircHFietD Hitis. Signed Ben Foster. Canvas 42% x 36% in. (Room 
52.) Presented by the Friends of American Art, 1913. 
FRAZIER, John Robinson—American, 1889—. 
*VII. Goutart House, Provincetown, R. I. Water color 15 x18 in. Mr. and 
Mrs. F. G. Logan Purchase Prize, 1922. 
FREER, Frederick Warren—American, 1849-1908. 
516. Cuartes W. Futuerron (Portrait), founder of Fullerton Memorial Hall. 
Canvas 52x 4144 in. (Fullerton Hall Foyer.) Presented by Martha S. Hill, 
I9Ol. 
FRIESEKE, Frederick Carl—American, 1874—. 
903. Lapy Tryinc on a Hart. Signed F. C. Frieseke, 1909. Canvas 64 x 51 in. 
(Room 47.) Walter H. Schulze Memorial Collection, presented by Mr. and 
Mrs. Paul Schulze, 1924. 


Crete sO GU EY OF (PAINTINGS Coa) 


383. On THe Bank. Signed F. C. Frieseke. Canvas 40% x 5714 in. (Room 
48.) Presented by the Friends of American Art, 1916. 
FROMENTIN, Eugéne—French, 1820-1876. 


154. THE Comsat. Signed Eugéne Fromentin. Canvas 65 x 44in. (Room 40.) 
A. A. Munger Collection, 1901. 


*229. ON THE NILE, NEAR PuHitare. Signed Eug. Fromentin, ’71. Canvas 2434 x 
43% in. Nickerson Collection, 1900. 


128. WoMEN OF THE OuLED Nayts, SAHARA. Signed Eug. Fromentin. Canvas 
4338 x 28% in. (Room 38.) Henry Field Memorial Collection, 1917. 
FULLER, George—American, 1822-1884. 


384. ExamInaTION OF WITNESSES IN A TRIAL FOR WitcHCRAFT. Canvas 36 x 54 
in. (Room 53.) Presented by the Friends of American Art, 1917. 


444. Psycue. Signed G. Fuller. Composition board 36x 28 in. (Room 53.) 
Presented by the Friends of American Art, 1918. 

_ GABRIEL, Paul Josef Constantin—Dutch, 1828-1903. 

*279. WINDMILLS IN Hotianp. Signed Gabriel f. Water color 9% x 22% in. 
Nickerson Collection, 1900. 

GAINSBOROUGH, Thomas—English, 1727-1788. 


755. Countess oF Bristor (Portrait). Canvas 35 x 28 in. (Room 27.) W.W. 
Kimball Collection, 1922. (Illus. p. 30.) 


756. SkirTS OF THE Woop. Canvas 16x 21 in. (Room 27.) W. W. Kimball 
Collection, 1922. (Illus. p. 31.) 

GAISSER, Max—German, 1857—. 

*230. In Dousr. Panel 1558x1958 in. Nickerson Collection, 1900. 


GARBER, Daniel—American, 1880—. 
385. Hiris or Byram. Signed Daniel Garber. Canvas 42 x 46% in. (Room 
48.) Presented by the Friends of American Art, 1910. (Illus. p. 113.) 
386. TowerinG Trees. Signed Daniel Garber, 1911. Canvas 5414 x 553% in. 
(Room 46.) Presented by the Friends of American Art, 1911. 
GASPARD, Leon—Russian, 1882—. 
*356. To THE Dance (Apaches). Signed Léon Gaspard, Taos, 1919. Canvas 
3214 x 36% in. Presented by twenty Friends of the Artist, 1920. 
GAUGUIN, Paul—French, 1848-1903. 
624. Tre Burao (Landscape). Signed P. Gauguin, ’92. Canvas 2614 x35 in. 
(Room 45.) Presented by foseph Winterbotham, 1923. (Illus. p. 71.) 
GAY, Walter—American, 1856—. 


*387. THE Commope. Signed Walter Gay. Canvas 26x 21% in. Presented by 
the Friends of American Art, 1914. 


GEROME, Jean Léon—French, 1824-1904. 
#231. ALBANIAN Girt. Signed J. L. Géréme. Canvas 17% x14 1n. Nickerson 
Collection, 1900. 
159. THE GrieF OF THE PasHa. Signed J. L. Gerdme. Canvas 363% x 29 in. 
(Room 40.) dA. A. Munger Collection, 1901. 


GIFFORD, Sanford Robinson—American, 1823-1880. 
#232. SuNSET ON THE Lake, ITaty. Signed S. R. Gifford, 1859. Canvas 117% x 
201% in. Nickerson Collection, 1900. 


138 THE ART INS TPITUTE: OF CHICA Ge 


GILES, Howard—American, 1876—. 


445. MacManan’s, Marne. Signed H. Giles. Canvas 30x 30in. (Room 46.) 
Presented by the Friends of American Art, 1917. 


VIII. SuHore Line. Water Color11%x15%in. (Room 44.) Charles E. Kremer 
Purchase Prize, 1921. 
GIORDANO, Luca—Spanish, 1632-1705. 

49. Democritus, THE LAuGHING PHILOSOPHER. Canvas 34% x 294 in. (Room 
3.) Presented in memory of Samuel Gans by his Heirs, 1917. 

48. Herac.itus, THE WEEPING PHILOSOPHER. Canvas 34% x 29% in. (Room 
3.) Presented in memory of Samuel Gans by his Heirs, 1917. 

GLACKENS, William J.—American, 1870—. 
*471. CHEZ Movaquin. Signed W. Glackens, ’05. Canvas 48x39 in. Presented 
by the Friends of American Art, 1925. 
GRABACH, John R.—American, 1886—. 
*472. WASHDAY IN Sprinc. Signed John R. Grabach. Canvas 3034 x 29 in. 
Presented by the Friends of American Art, 1924. 
GRAYSON, Clifford P.—American, 1857—. 
#300. Rainy Day at Pont-Aven, Britrany. Signed Clifford P. Grayson, 1882. 
Canvas 44%4 x65 in. Presented by Mrs. Charles F. Singer, 1896. 
GROVER, Oliver Dennett—American, 1861—. ; 
389. June Morninoa, Lake Orta. Signed Oliver Dennett Grover, 1913. Can- 
vas 38148x 47 in. (Room 46.) Presented by the Friends of American Art, 
1913. ' 
*388. Mountain, SEA AND CLoup. Signed Oliver Dennett Grover, 1911. Can- 
vas 24x30 in. Presented by the Friends of American Art, 1913. 
HACKER, Arthur—English, 1858-1919. 
324. THE CraDLe Sone. Signed Arthur Hacker. Canvas 57% x 47 in. (Room 
3.) Presented by William T. Fenton, 1914. 
HALS, Frans—Dutch, c.1580-1666. 

13. Harmen Hats, THE Artist’s Son (?) (Portrait). Signed with monogram 
and inscription AETA. 32, 1644. Canvas 32144 x25% in. (Room 32.) 
Presented by Charles L. Hutchinson, 1894. (lllus. p. 9.) 

HARDING, Chester—American, 1792-1866. 


518. Gerorce Hattetr (Portrait). Wood 27144 x22% in. (Room 53.) Pur- 
chased from the Samuel P. Avery Fund, 1915. 


517. Mrs. Georce Ha tert (Portrait). Wood 28 x 23 in. (Room 53.) Pur- 
chased from the Samuel P. Avery Fund, 1915. 

HARRISON, Thomas Alexander—American, 1853—. 

519. THE Amateurs. Signed Alexander Harrison, 1882 (or 1883). Canvas 
57°4x91 in. (Room 4o.) Presented by Subscription, 1883. (Illus. p. 97.) 

HART, James M.—American, 1828-1901. 

234. Oaks 1n Autumn. Signed James M. Hart, ’88 (?). Canvas 16x 21 in. 
(Room 42.) Nickerson Collection, 1900. 

HART, William—American, 1823-1894. 

*305. THE Cominc Storm. Canvas 20x32 in. Bequest of Lucretia Ff. Tilton, 
1907. 


Weal oe OG UE OF =PAIN TINGS 139 


*520. LANDSCAPE WITH CaTTLE. Signed Wm. Hart, 1884. Canvas 36x 29 in. 
Bequest of Catherine M. White, 1899. 
HASSAM, Childe—American, 1859—. 


390. AcainsTTHE Licut. Signed Childe Hassam, 1910. Canvas 29% x 24M4in. 
(Room 46.) Presented by the Friends of American Art, 1911. 


g04. CATHEDRAL Spires, Sprinc Morninc. Signed Childe Hassam, 1909. 
Canvas 3524 x 2536 in. (Room 47.) Walter H. Schulze Memorial Collec- 
tion, presented by Mr. and Mrs. Paul Schulze, 1924. 


905. THE Wititows. Signed Childe Hassam, 1912. Canvas 25 x 27in. (Room 
47.) Walter H. Schulze Memorial Collection, presented by Mr. and Mrs. Paul 
Schulze, 1924. 

HAWTHORNE, Charles Webster—American, 1872—. 


391. Lirrie Sytvia. Signed by C. W. Hawthorne. Wood 40x 40 in. (Room 
1.) Presented by the Friends of American Art, 1912. 


446. ALBIN PoLasek, Scutptor (Portrait). Signed C. W. Hawthorne. Canvas 
“40x40 in. (Room 41.) Presented by the Friends of American Art, 1917. 
(Illus. p. 109.) 


473. SELECTMEN OF ProvincETowN. Canvas 4814x5934 in. (Room 46.) 
Presented by the Friends of American Art, 1924. 
HEALY, George Peter Alexander—American, 1813-1894. 


521. ARMENIAN FatHers. Canvas 54x40 in. (Room 53.) Presented by the 
Artist, 1879. 

522. Gerorce P. A. Heaty (Portrait). Signed G, P. A. Healy, 1873. Canvas 
2934 x 2438 in. (Room 41.) Presented by George L. Healy, 1913. 


523. Mrs. Georce P. A. Heaty (Portrait). Signed G. P. A. Healy, 1873. Can- 
vas 30 x 2434 in. (Room 53.) Presented by George L. Healy, 1913. 
HEBERT, Ernest—French, 1817-1908. 
129. On Guarp. Signed Hébert. Canvas 1834 x 1434 in. (Room 38.) Henry 
Field Memorial Collection, 1917. 
HEITLAND, W. Emerton—American, 1893—. 


IX. Tue Roap From CHEstTer. Signed Heitland, ’23. Water color 19 x 26 in. 
(Room 44.) Purchased from the Ff. W. Loewenthal Fund, 1924. 


X. Tue SHanty, Tampa, FLoripa. Signed Heitland, 1922. Water color 1634 

x 1814 in. (Room 44.) Brown and Bigelow Purchase Prize, 1923. 

HENDERSON, William Penhallow—American, 1877—. 

*392. THE GREEN CLoak. Canvas 40% x32 in. Presented by the Friends of 
American Art, 1913. 

HENNER, Jean Jacques—French, 1829-1905. 

*235. A Brunette. Signed J. J. Henner. Canvas 1814x1258 in. Nickerson 
Collection, 1900. 

HENRI, Robert—American, 1865—. 


906. Hersetr. Signed Robert Henri. Canvas 314% x26 in. (Room 47.) 
Walter H. Schulze Memorial Collection, presented by Mr. and Mrs. Paul 
Schulze, 1924. (Illus. p. 107.) 

907. Himsexr. Signed Robert Henri. Canvas 314%4x26 in. (Room 47.) 
Walter H. Schulze Memorial Collection, presented by Mr. and Mrs. Paul 
Schulze, 1924. 


140 THE: ART INS TPUTUTE (OF 4Cipi aa 


*393. Younc Woman In Buack. Signed Robert Henri. Canvas 77 x 38% in. 
Presented by the Friends of American Art, 1911. 

HIGGINS, W. Victor—American, 1884—. 

*474. Sprinc Rains. Signed Victor Higgins. Canvas 40 x 43 in. Presented by 
the Friends of American Art, 1924. (Illus. p. 117.) 

HITCHCOCK, George—American, 1850-1913. 

524. FLrower Girt In Houianp. Signed Geo. Hitchcock. Op. XXXV, 1887. 

Canvas 31 x 5814 in. (Room 52a.) Presented by Potter Palmer, 1888. 

HOBBEMA, Meindert—Dutch, 1638-1709. 


16. THe Water-MILL wiTtH THE GREAT Rep Roor. Signed Meindert Hob- 
bema. Canvas 3134 x 43% in. (Room 32.) Presented by Mr. and Mrs. 
Frank G. Logan, 1903. (Illus. p. 19.) 


757. WoopeEp LANDSCAPE WITH CoTTAGE AND Horseman. Signed M. Hobbema, 

1663. Canvas 39x 52 in. (Room 27.) W.W. Kimball Collection, 1922. 
HOFFMAN, Harry Leslie—American, 1880(?)—. 

447. THE Cotron Gin. Signed H. L. Hoffman,’19. Canvas 30x 40in. (Room 

48.) Presented by the Friends of American Art, 1919. 
HOMER, Winslow—American, 1836-1910. 

394. WATCHING THE BREAKERS. Signed Homer, 1891. Canvas 30% x 4034 in. 

(Room 48.) Presented by the Friends of American Art, 1913. (Illus. p. 91.) 
HOPKINS, James R.—American, 1878—. 

395. A Kentucky Mounratneer. Signed James R. Hopkins. Canvas 32 x 26 
in. (Room 48.) Presented by the Friends of American Art, 1915. (Illus. 
Dalit) 

HORTER, C. Earle—American contemporary. 

XI. Nupe Reciininc. Water color 1144 x12% in. (Room 44.) Brown and 

Bigelow Purchase Prize, 1923. 
INMAN, Henry—American, 1801-1846. 

448. WiviraM Inman (Portrait). Composition board 30 x 24% in. (Room 53.) 

Presented through the Friends of American Art by William O. Goodman, 1917. 
INNESS, George—American, 1825-1894. 

593. AFTER A SUMMER SHOWER. Signed G. Inness, 1894. Canvas 32 x 42 in. 
(Room 51.) Thomas B. Clarke Collection, 1899. Presented by Edward B. 
Butler, 1911. 

592. THe AFTERGLOW. Signed G. Inness, 1893. Canvas 30x 25% in. (Room 
51.) Charles L. Hutchinson Collection, 1911. Presented by Edward B. 
Butler, 1911. 

582. Ar Nicut. Signed G. Inness, 1890. Canvas 22x27 in. (Room 51.) 
Presented by Edward B. Butler, 1911. 

584. Autumn Woops. Signed G. Inness. Canvas 29% x45 in. (Room 51.) 
Presented by Edward B. Butler, 1911. 

576. Catsxitt Mountains. Signed G. Inness, 1870. Canvas 48% x 72% in. 
(Room 51.) Presented by Edward B. Butler, 1911. (Illus. p. 88.) 

585. Detaware VALLEY. Signed G. Inness. Composition board 1556 x 24 in. 
(Room 51.) Presented by Edward B. Butler, 1911. 

589. Earty Mornina, Tarpon Sprincs. Signed G. Inness, 1892. Canvas 42 x 
3214 in. (Room 51.) Presented by Edward B. Butler, 1911. 


CAIDA LOG U EOF RPATNTIN.GS TAy 


594. Erretat, Normanpy, France. Signed G. Inness. Canvas 30 x 45% in. 
(Room 51.) Presented by Edward B. Butler, 1911. 


583. Eveninc Lanpscape. Signed G. Inness, 1890. Canvas 20 x 30 in. (Room 
51.) Presented by Edward B. Butler, 1911. 


590. THe Home or THE Heron. Signed G. Inness, 1893. Canvas 30 x 45 in. 
(Room 51.) Presented by Edward B. Butler, 1911. 


591. IntTHE Vattey. Signed G. Inness, 1893. Canvas 24 x 3614 in. (Room 51.) 
Presented by Edward B. Butler, 1911. 

586. LanpscaPE NEAR Monrtciair, New Jersey. Signed G. Inness. Canvas 
15x 26% in. (Room 51.) Presented by Edward B. Butler, 1911. 


579. Lanpscape, SunsET. Signed G. Inness, 1887. Canvas 2214 x 36% in. 
(Room 51.) Presented by Edward B. Butler, 1911. 
*236. LANDSCAPE, SuNSET. Signed G. Inness, 1870. Canvas 15 x 2334 in. 
Nickerson Collection, 1900. 
595. THE Lone Farm. Signed G. Inness, 1892. Canvas 30x 45in. (Room 51.) 
Presented by Edward B. Butler, 1911. 


580. Mitt Ponp. Signed G. Inness, 1889. Canvas 37% x 29 in. (Room 51.) 
Thomas B. Clarke Collection, 1899. Presented by Edward B. Butler, 1911. 

587. Moonrise. Signed G. Inness, 1891. Canvas30x25in. (Room 51.) Pre- 
sented by Edward B. Butler, 1911. 

#596. A Sttver Mornin, 1884. Canvas 35x 45 in. Presented by Mr. and Mrs. 
Edward B. Butler, 1924. 


578. THE Storm. Signed G. Inness, 1876. Canvas 2536 x 38% in. (Room 
Presented by Edward B. Butler, 1911. (Illus. p. 89.) 


575. SUMMER IN THE CaTSKILLs. Signed G. Inness, 1867. Canvas 20 x 30 in. 
(Room 51.) William T. Evans Collection, 1900. Presented by Edward B. 
Butler, 1911. 


581. SuNSET IN THE VALLEY. Signed G. Inness, 1890. Canvas 2214 x 3634 in. 
(Room 51.) Thomas B. Clarke Collection, 1899. Presented by Edward B. 
Butler, 1911. 


588. THREATENING. Signed G. Inness, 1891. Canvas 3014 x 4534 in. (Room 
51.) Thomas B. Clarke Collection. Presented by Edward B. Butler, 1911. 


577. TwitichTin Iraty. Signed G. Inness, 1874. Wood 16% x 2574in. (Room 
51.) Presented by Edward B. Butler, 1911. 
IPSEN, Ernest L.—American, 1869—. 
*525. BENJAMIN FRANKLIN FeErRGuson, founder of the Ferguson Fund. Signed 
E. L. Ipsen, 1899. Canvas 30x 25 in. Presented by Mary Ferguson Olden, 
I9Il. 
IRVINE, Wilson H.—American, 1869—. 
396. Autumn. Signed Irvine. Canvas 32x 40in. (Room 3.) Presented by the 
Friends of American Art, 1915. 
ISABEY, Eugéne—French, 1803-1886. 
*172, THe Tempest. Signed E.I. Wood 2556 x 1656 in. 4. 4. Munger Collec- 
tion, 1901. 
JACKSON, John—English, 1778-1831. 
326. An EnciisH GENTLEMAN (Portrait). Canvas 27 x 2334 in. (Room 27.) 
Bequest of Mrs. G. P. A. Healy, 1905. (Illus p. 35.) 


142 THE ART OPN SDD UTE OF (Cais 


325. Joun Jackson (Portrait). Canvas 30 x 2434 in. (Room 27.) Bequest of 
Mrs. G. P. A. Healy, 1905. 
JACQUE, Charles Emile—French, 1813-1894. 


*778, FrEpiInG Time. Signed Ch. Jacque. Wood 124%x9% in. 4. A. Munger 
Collection, 1901. 


*280. SHEPHERDESS AND SHEEP. Signed Ch. Jacque. Pastel 203 x 36% in. 
Nickerson Collection, 1900. 


*619. SHEPHERDESS AND SHEEP; Woop Pasture. Signed Charles Emile Jacque. 
Canvas 17% x 26in. Bequest of Mrs. F. C. Black, 1921. 

JACQUET, Jean Gustave—French, 1846-1909. 

*237. Younc Woman. Signed G. Jacquet. Wood 1354 x 103 in. Nickerson 
Collection, 1900. 

JETTEL, Eugen—Austrian, 1845-1901. 

*238. Gray Dayin Hotianp. Signed Eugéne Jettel, Paris. Wood 143% x 24 in. 
Nickerson Collection, 1900. 


338. MarsHes In THE Nortu or Hottanp. Signed Eugéne Jettel, Paris, 1883. 
Canvas 3358 x 477% in. (Room 4.) Presented by P. C. Hanford, 1890. 
JOHANSEN, John Christen—American, 1876—. 


397. Piazza San Marco. Signed J. C. Johansen, 1908, Venice. Canvas 29% x 
3914 in. (Room 46.) Presented by the Friends of American Art, 1911. 


JOHNSON, Eastman—American, 1824-1906. 


822. Corn Husxine. Signed E. Johnson, 1876. Canvas 3114 x-so in. (Room 
53.) Palmer Collection, 1922. (Illus. p. 87.) 


*572. EastTMAN JouNson (Portrait). Canvas 15 x 1134 in. Presented by Mrs. 
Arthur Meeker, 1924. 


526. Eastman Jounson (Portrait). Inscribed to G. P. A. Healy, May, 1889. 

Canvas 18x 141in. (Room 41.) Beguest of Mrs. G. P. A. Healy, 1905. 
JUNGHANNS, Julius Paul—German, 1876—. 
618. MemoriEs OF THE TyroL. Signed Julius P. Junghanns. Canvas 55 x 8334 
in. (Room G 61.) Presented by Foseph Winterbotham, 1922. (Illus. p. 24.) 
KEITH, William—American, 1839-1911. 
*398. THe CominG Storm. Signed W. Keith,S. F. Canvas 25 x 30in. Presented 
by the Friends of American Art, 1911. 
KENT, Rockwell—American, 1882—. 

573. Mount Equinox, Winter (Vt.). Signed Rockwell Kent, Vermont, 1921. 
Canvas 33% x 43% in. (Room 45.) Presented by Mrs. Gertrude Vanderbilt 
Whitney, 1923. (Illus. p. 112.) 

KNAUS, Ludwig—German, 1829-1910. 

130. THe Potato Harvest. Signed L. Knaus, 1889. Wood 33% x 47% in. 

(Room 38.) Henry Field Memorial Collection, 1917. 

KOEKKOEK, Barend Cornelis—Dutch, 1803-1862. 

*180. A GATHERING STORMIN FLANDERS. Signed B. C. Koekkoek, 1852. Wood 
2814 x4oin. A. A. Munger Collection, 1901. 

KROLL, Leon—American, 1884—. 


*399. NortH River Front. Signed Kroll, 1914. Canvas 48% x 35% in. Pre- 
sented by the Friends of American Art, 1915. 


CATALOGUE OF PAINTINGS 143 


*449. Leo OrNSTEIN AT THE Piano. Signed Kroll, 1918. Canvas 34x 40 in. 
Presented by the Friends of American Art, 1919. (Illus: p. 119.) 
LACHMAN, Harry B.—American, 1886—. 


450. St. Nicotas pu CHARDONNET, Paris. Signed Harry B. Lachman. Canvas 
36x 36in. (Room 52.) Presented by the Friends of American Art, 1920. 


451. THE Tower, Cormery. Signed Harry B. Lachman, ’18. Canvas 36x 
28% in. (Room 48.) Presented through the Friends of American Art by 
Arthur Meeker, 1920. 

LAMORINIERE, Jean Pierre Francois—Belgian, 1828-1911. 


*241. WIEWNEARANTWERP. Signed Fcois Lamoriniére, 1870. Wood 20% x 3134 
in. Nickerson Collection, 1900. 


LATHROP, William Langdon—American, 1859—. 
908. GoLpDEN Fiexps. Signed W. L. Lathrop. Canvas 24% x 29% in. (Room 
47.) Walter H. Schulze Memorial, presented by Mr. and Mrs. Paul Schulze, 
1924. 
LA TOUCHE, Gaston—French, 1854-1913. 
610. Huntine (La Chasse). Signed Gaston La Touche. Canvas 72 x 80 in. 
(Room G61.) Purchased from the Sidney A. Kent Fund, 1921. 
LAWRENCE, Sir Thomas—English, 1769-1830. 
758. Mrs. Wotrr (Portrait), 1815. Canvas 50x39 in. (Room 27.) W. W. 
Kimball Collection, 1922. (Illus. p. 34.) 
LAWSON, Ernest—American, 1873—. 
458. Ice-BounpD Fats. Signed E. Lawson, 1919. Canvas 391% x 50 in. (Room 
48.) Presented by the Friends of American Art, 1921. 
LEBRUN, Charles—French, 1619-1690. 
* 52. THe Famity or Darius aT THE FEET OF ALEXANDER. Canvas 50 x 65 in. 
Presented by R. Hall McCormick, 1905. 
LENAIN BROTHERS—French, XVII Century. 


59. THe Peasant Famity (La Famille de paysans). Canvas 38% x 40 in. 
(Room 42.) Purchased from the Robert Alexander Waller Memorial Fund, 


1923. (illus: p. 43.) 
LEPINE, Stanislas—French, 1836-1892. 
339. River View. Signed S. Lépine. Canvas11x21in. (Room 4.) Presented 
by Mrs. Sarah C. Taylor, 1907. 
LE SIDANER, Henri—French, 1862—. 
611. CanaL anp Houses. Signed Le Sidaner. Canvas 29% x37 in. (Room 
45.) Purchased from the Lois H. Culver Memorial Fund, 1921. 
LESLIE, Charles Robert—American, 1794-1859. 
*478. James Wiii1aAm Wattack (the Actor). Canvas 30x 2434 in. Presented 
through the Friends of American Art by William O. Goodman, 1923. 
LHERMITTE, Léon Augustin—French, 1844—. 
616. CowHeERD; River; Lanpscape. Signed L. Lhermitte, 1904. Pastel 35 x 46 
in. (Room 45.) Bequest of Mrs. F. C. Black, 1921. 
*281. An InTERIOR In Normanpy. Signed L. Lhermitte. Pastel 1136 x 16 in. 
Nickerson Collection, 1900. 


144 THE ART INSTITUTE. OF CHG iG. 


LIE, Jonas—American, 1880—. 

*400. ArFTEerRGLow. Signed Jonas Lie. Canvas 50x60 in. Presented by the 
Friends of American Art, 1914. 

McEWEN, Walter—American, 1860—. 


170. THE JuDGMENT oF Paris. Signed W. McEwen. Canvas 3634 x 50% in. 
(Room 40.) 4. 4. Munger Collection, 1901. 


*529. WoMAN OF THE Empire. Signed McEwen. Canvas 74% x 33% in. Pre- 
sented by Mrs. Charles F. Singer, 1903. 
McLANE, Myrtle Jean—American, 1878—. 


402. VIRGINIA AND Stanton Arno.p (Portraits). Signed M. Jean McLane. 
Canvas 491% x goin. (Roomt.) Presented by the Friends of American Art, 


1914. 

MADRAZO, Raimundo de—Spanish, 1841-1920. 

*263. Mrs. Samuet Mays Nickerson (Portrait). Signed R. Madrazo, 1gor1. 
Canvas 30 x 24 in. Nickerson Collection, 1900. 

MAES, Nicolaes—Dutch, 1632-1693. 

7. Portrait or A Man. Canvas 40% x31 in. (Room H17.) Presented by 

Kate S. Buckingham, 1923. (Illus. p. 17.) 

MAKART, Hans—Austrian, 1840-1884. 

*168. TREASURES OF THESEA. Canvas 1578x 41541n. 4. A. Munger Collection, 
I9OI. 

MAKOWSKI, Constantin Egorovitch—Russian, 1839-1915. 

*156. ALEXANDROVNA. Canvas 29% x25 in. 4. 4. Munger Collection, 1901. 


MANET, Edouard—French, 1832-1883. 


824. Boutocne Roapsteap (La Sortie du port de Boulogne). Signed Manet. 
Canvas 28 x 35% in. (Room 26.) Palmer Collection, 1922. 

823. THE Race Course at Lonccuamp. Signed Manet. Canvas 17 x 33 in. 
(Room 26.) Palmer Collection, 1922. (Illus. p. 60.) 


340. THE PuiLtosopHer. Signed M. Canvas 74 x 43 in. (Room 40.) Purchased 
from the Alexander A. McKay Fund for the Munger Collection, 1918. (Illus. 


Pp. 59-) 

MARCHAND, Jean—French, 1883—. 

*600. THe ReruGer (La Réfugiée). Canvas 32 x 24in. Purchased from the H. F. 
Willing Fund, 1921. 

MARIS, Jacobus—Dutch, 1837-1914. 

191. Tue Nurse. Signed J. Maris. Canvas 3214 x 2834 in. (Room 40.) Pur- 

chased from the Alexander A. McKay Fund for the Munger Collection, 1922. 
(Illus. p. 20.) 

MARIS, Willem—Dutch, 1844-1910. 

*282. Farm 1n Houianp. Signed Willem Maris. Water color 1514 x 20% in. 
Nickerson Collection, 1900. 

MAROLD, Ludek—Czecho-Slovak, 1865-1898. 


*XIJ. Tue Meetinc. Signed Marold. Water color 17 x 1234 in. Presented by 
Chicago Friends of Czecho-Slovak Art, 1922. 


CATALOGUE OF PAINTINGS 145 


MASSYS, Quentin—Flemish, 1466-1530. 
6. Man with A Pink. Wood 174% x11% in. (Room 32.) Presented by Fohn 
aGiessners1905. (Illus p: 7.) 
MATISSE, Henri—French, 1869—. 
*615. By THE Winpow (Prés de la fenétre). Canvas 36x 28 in. Presented by 
Foseph Winterbotham, 1921. 
MAUFRA, Maxime—French, 1862-1918. 
342. DouarNENEZ, LA VILLE Ecrair&ée. Signed Maufra, ’97. Canvas 231% x 
29 in. (Offices.) Presented by Durand-Ruel, 1906. 
MAX, Gabriel—Austrian, 1840-1915. 
*173. First Sorrow. Canvas 1958x1554 in. 4d. A. Munger Collection, 1901. 
*242. InsprraTion. Canvas 97x 13% in. A. A. Munger Collection, 1901. 


MAZZANOVICH, Lawrence—American, 1871—. 

*4o1. Apri, TwentTIETH. Signed Mazzanovich. Canvas 30x30 in. Presented 
by the Friends of American Art, 1911. 

MEAKIN, Lewis Henry—American. Died 1917. 

403. In British Cotumsia. Signed L. H. Meakin. Canvas 34% x 44% in. 
(Room 4.) Presented by the Friends of American Art, 1913. 

MEISSONIER, Ernest—French, 1815-1891. 

174. THe Vipetre. Signed Meissonier. Canvas 4134 x 5576 in. (Room 40.) 
A. A. Munger Collection, 1901. 

MELCHERS, Julius Gari—American, 1860—. 


530. CHARLES Lawrence Hurcuinson (Portrait), president of the Art Institute 
1902-1924. Signed Gari Melchers. Canvas 40 x 39 in. (Room 32.) Pre- 
sented by Friends of the Art Institute, 1902: Edward E. Ayer, Adolphus C. 
Bartlett, A. G. Becker, fohn C. Black, Chauncey F. Blair, Clarence Bucking- 
ham, Edward B. Butler, Charles Counselman, fohn H. Dwight, E. G. Foreman, 
W. A. Fuller, F. F. Glessner, Ernest A. Hamill, C. H. McCormick, Fohn 
F. Mitchell, Martin A. Ryerson, Byron L. Smith, Albert A. Sprague, Charles 
H. Wacker, W. B. Walker. 


METCALF, Willard Leroy—American, 1858-1925. 
*404. IcrBsounp. Signed W. L. Metcalf, 1909. Canvas 28 x 26% in. Presented 
by the Friends of American Art, 1910. 
METTLING, Louis—French, 1847-1904. 
244. A Sonc anv A Bort e. Signed Mettling, 73. Wood 12% x 16% in. 
(Room 42.) Nickerson Collection, 1900. 
343. THe Warter-Carrier. Signed L. Mettling, ’82. Canvas 8234 x 5334 in. 
(Room 3.) Presented by Mrs. O. W. Meysenburg, 1898. 
MEULEN, Francois Pieter ter—Dutch, 1834—. 
*283. LanpscaPe WITH SHEEP. Signed ter Meulen. Water color 13 x 27% in. 
Nickerson Collection, 1900. 
MICHEL, Georges—French, 1763-1843. 
245. THe Op Castie. Canvas 203% x 2974 in. (Room 42.) Nickerson Collec- 
tion, 1900. 


146 THE ART INS TIVU TES OF (C.F Creare 


MICHETTI, Francesco Paolo—Italian, 1851—. 
157. SPRINGTIME AND Love. Signed P. Michetti, ’78. Canvas 37% x 7234 in. 
(Room 4c.) 4. 4. Munger Collection, 1901. (Illus. p. 4.) 
MIERIS, Willem van—Dutch, 1662-1747. 
8. THe Happy Moruer. Wood 22%%x 187% in. (Room 32.) Presented by 
Edison Keith, 1890. 
MILLER, Richard E.—American, 1875—. 
405. SuniicutT. Signed Miller. Canvas 45x 5714 in. (Room 48.) Presented 
by the Friends of American Art, 1915. 
MILLET, Jean Francois—French, 1814-1875. 
131. Brincinc Home THE NEw-Born Catr. Signed J. F. Millet. Canvas 32 x 
3938in. (Room 38.) Henry Field Memortal Collection, 1917. (Illus. p. 51.) 
827. First Mapame Mi ter (Virginie Ono). Canvas 20 x 24 in. (Room 25.) 
Palmer Collection, 1922. 
826. In AuverGNeE (Paysage d’Auvergne). Signed J. F. Millet. Canvas 31% x 
38% in. (Room 25.) Palmer Collection, 1922. 
759. THE Keeper OF THE Herp; Sunset. Signed J. F. Millet. Canvas 28 x 
36 in. (Room 27.) W.W. Kimball Collection, 1922. 
825. LirrLe SHEPHERDESS (Petite bergére). Signed J. F. Millet. Canvas 14 x 
1o in. (Room 25.) Palmer Collection, 1922. 
828. Rai-Spuirrer (Le Bicheron). Signed J. F. Millet. Canvas 311% x 25 in. 
(Room 25.) Palmer Collection, 1922. 
829. SHEEP SHEARERS (La Tondeuse). Signed J. F. Millet. Canvas 16x 1o in. 
(Room 25.) Palmer Collection, 1922. (Illus. p. 50.) 
132. Woman FeepinG Cuickens. Signed J. F. Millet. Canvas 18%x 15 in. 
(Room 38.) Henry Field Memorial Collection, 1917. 


MONET, Claude—French, 1840—. 

830. ANTIBES, TREES NEAR THE MEDITERRANEAN SEA (Arbres au bord de la 
mer). Signed Claude Monet, ’84. Canvas 2514 x32 in. (Room 26.) 
Palmer Collection, 1922. 

831. ARGENTEUIL-SUR-SEINE. Signed Cl. Monet, 1868. Canvas 32x39 in. 
(Room 26.) Palmer Collection, 1922. (Illus. p. 62.) 

832. Boats 1n WINTER Quarters (Calages d’Etretat). Signed Claude Monet, 
85. Canvas 281% x 3614 in. (Room 26.) Palmer Collection, 1922. (Illus. 
p- 63.) 

*761. BorDIGHERA, 1884. Signed Claude Monet, ’84. Canvas23x29in. W.W. 
Kimball Collection, 1922. 

*344. THe Cuirrs at Trouvitite. Signed Claude Monet, ’96. Canvas 2534 x 
39% in. Purchased from the Stickney Fund, 1903. 


833. Erretat, Morninc (Matin au bord de la mer, Etretat). Signed Claude 
Monet, ’83. Canvas 25 x 321n. (Room 26.) Palmer Collection, 1922. 

*762. A Fretp or Flowers 1n France. Signed Monet. Canvas 25 x 38 in. 
W.W. Kimball Collection, 1922. 

834. Ficures In SunsHINE. Signed Claude Monet, ’87. Canvas 28 x 35% in. 
(Room 26.) Palmer Collection, 1922. 

835. Haystacks 1n WINTER (Meules: soleil couchant). Signed Claude Monet, 
’91. Canvas 23% x 39% in. (Room 26.) Palmer Collection, 1922. 


Cen asl OGG UWE OF PALIN TING S 147 


760. NympHara; WarerscaPe. Signed Claude Monet, 1907. Canvas 36 x 52 
in. (Room 45.) W.W. Kimball Collection, 1922. 


836. Torrent, Daupuin& (Montagnes). Signed Claude Monet. Canvas 251% x 
36% in. (Room 26.) Palmer Collection, 1922. . 
MORET, Henry—French, 1854-1913. 
345. Harzsor at Beton, Brirrany (La Barre de Belon, Finistére). Signed 
Henry Moret, ’97. Canvas 29x 36 in. (Offices.) Presented by Durand- 
Ruel, 1906. 
MORISOT, Berthe—French, 1841-1895. 


625. Woman AT Her ToiLrer (Femme 4 sa toilette). Signed Berthe Morisot. 
Canvas 2334 x 3134 in. (Room 39.) Purchased from the Stickney Fund, 
1924. (Illus. p. 65.) 
MUNKACSY, Mihaly (Michael Lieb)—Hungarian, 1844-1900. 
163. THE WresTLER’S CHALLENGE. Signed Munkacsy, M. Wood 3434x51% 
in. (Room 40.) 4. 4. Munger Collection, 1901. 
MUNN, Adeline—American, 1873—. 
*c61. Gerorce B. Harris (Portrait). Canvas 29% x 24% in. Bequest of George 
B. Harris, 1921. 
MURPHY, Hermann Dudley—American, 1867—. 


*o31. Mount Monapnock. Signed Murphy. Canvas 20x27 in. Purchased 
from the B. F. Ferguson Annuity Fund, 1908. 


480. Henry Ossawa TANNER (Portrait). Signed M. Canvas 37 x 28 in. (Room 
41.) Presented by the Friends of American Art, 1924. 


574. CHARLES S. Woopsury (Portrait). Signed 19 (M) ’06. Canvas 29% x 
24% in. (Room 41.) Charles S. Peterson Purchase Prize, 1922. 
MURPHY, John Francis—American, 1853-1921. 


553. Eveninec. Signed J. Francis Murphy, ’93. Canvas 8% x 1214 in. (Room 
52a.) Presented by Wallace L. De Wolf, 1919. 


406. Hitttop. Signed J. Francis Murphy, 1919. Canvas 24% x 36in. (Room 
46.) Presented by the Friends of American Art, 1911. 
MYERS, Jerome—American, 1867—. : 
481. THE Enp oF THE STREET. Signed Jerome Myers, N. Y., 1922. Canvas 
244% x 29% in. (Room 48.) Presented by the Friends of American Art, 1923. 
NEAL, David Dalhoff—American, 1837-1915. 
*265. Inrertor oF St. Mark’s, VENIcE. Signed David Neal, Minchen, 1869. 
Canvas 7214 x 58¥4in. Nickerson Collection, 1900. 
NEER, Aert van der—Dutch, 1603-1677. 
17. River View sy Moonticut. Canvas 2554 x 3334 in. (Room 32.) Pre- 
sented by Mr. and Mrs. La Verne W. Noyes, 1919. 
NEUHUYS, Jozef Hendrikus—Dutch, 1841-1890. 
*284. LAaNDscaPE wiTH WINDMILLS, Hotianp. Signed Jozef Neuhuys. Water 
color 84% x 127% in. Nickerson Collection, 1900. 
NEUVILLE, Alphonse Marie de—French, 1836-1885. 


#223. Tue Ovurpost. Signed A. de Neuville, 1882. Canvas 1936x15}4 in. 
Nickerson Collection, 1900. 


148 THE ART INSTITUTE OF _ CH TCaaa 


169. THE Prece1n Dancer. Signed A. de Neuville, 1883. Canvas 47% x 37% 
in. (Room 40.) 4. A. Munger Collection, 1901. 
NORTON, John Warner—American, 1876—. 
482. LicHr anp SHADow. Signed Norton. Canvas 35% x 41% in. (Room 52.) 
Presented by the Friends of American Art, 1924. 
NOURSE, Elizabeth—American, 1860—. 


532. MorHer AND CHILDREN. Signed E. Nourse, ’93. Canvas 46% x 30% in. 
(Room 4.) Presented by Mrs. Charles E. Culver in memory of Charles E. 
Culver, 1897. 

OCHTERVELT, Jacobus—Dutch, before 1635-c.1700. 


g. Execant Company. Canvas 18% x 18% in. (Room 27.) Purchased from 
the E. M. Schapper Fund, 1923. (Illus. p. 18.) 


ORPEN, Sir William—Irish, 1878—. 
327. A Woman 1n Gray. Signed Orpen. Canvas 74.x 49 in. (Room 39.) 
Purchased from the Samuel P. Avery Fund, 1912. (Illus. p. 40.) 
OSTADE, Adriaen van—Dutch, 1610-1685. 
1. THE Gotpen Weppinc. Signed and dated 1674. Canvas 181% x 16 in. 
(Room 32.) Purchased from the George B. and Mary R. Harris Fund, 1920. 
(Illus. p. 14.) 
PALMA, Giacomo (II Vecchio)—Venetian, 1480-1528. 
40. Woman’s Porrrair. Canvas 3014 x 26 in. (Room 42.) Purchased from 
the Simeon B. Williams Fund, 1923. (Illus. p. 2.) 
PARKER, Lawton S.—American, 1868—. 
*407. Mrs. Ray ATHERTON (Portrait). Signed Lawton Parker, 1914. Canvas 
55x39in. Presented by the Friends of American Art, 1916. 
PASINI, Alberto—Italian, 1826-1899. 
*247. THe Messencer. Signed A. Pasini, 1884. Canvas 18144 x15 in. Nicker- 
son Collection, 1900. 
PEARCE, Charles Sprague—American, 1851-1914. 


533. BEHEADING OF JOHN THE Baptist. Signed Charles Sprague Pearce, Paris, 
1881. Canvas 99% x 6834 in. (Room 3.) Purchased by subscription and 
presented, 1882. 

PEYRAUD, Frank C.—American, 1858—. 

*408. AFTER Rain, Cutcaco. Signed F. C. Peyraud, 1911. Canvas 36% x 46% 
in. Presented by the Friends of American Art, 1913. 

PISSARRO, Camille—French, 1831-1903. 


*763. Banks or River. Signed C. Pissarro, 1877. Canvas 38x34 in. W. W. 
Kimball Collection, 1922. 


837. Le Carfé au Lait. Signed C. Pissarro, 1881. Canvas 25 x 2144 in. (Room 
26.) Palmer Collection, 1922. 


838. Piace pu Havers, Paris. Signed C. Pissarro, ’93. Canvas 24x 29 in. 
(Room 26.) Palmer Collection, 1922. 

839. View or Osny, NEAR PontotseE (Osny prés Pontoise). Signed C. Pissarro, 
1883. Canvas 2214 x 28% in. (Room 26.) Palmer Collection, 1922. 

840. Woman aT THE WELL (Femme au puits). Signed C. Pissarro, ’82. Canvas 
32x 25% in. (Room 26.) Palmer Collection, 1922. 


CATALOGUE OF PAINTINGS 149 


POGGENBEEK, George—Dutch, 1853-1903. 
*285. Cows on THE HicHway. Signed Geo. Poggenbeek,’87. Water color 143% x 
20% in. Nickerson Collection, 1900. 
POOLE, Abram—American, 1882—. 
465. Miss McFapp_n (Portrait). Canvas 2814 x 23 in. (Room 48.) Presented 
by the Friends of American Art, 1921. 
POTTHAST, Edward Henry—American, 1857—. 
410. A Ho.ipay. Signed E. Potthast. Canvas 3034 x 40% in. (Room 3.) 
Presented by the Friends of American Art, 1915. 
PRIMITIVE (Unknown)—Flemish School (Late). 
* 31. Maponna and Cuitp. Panel. Presented by fames B. Wilbur, 1919. 


PUTZ, Leo—German, 1869—. 
626. ON THE SHORE (Dame am Ufer). Signed Leo Putz, ’o9. Canvas 58% x 
54% in. (Room 45.) Presented by Foseph Winterbotham, 1923. (Illus. 
p. 25.) 
PUVIS pe CHAVANNES, Pierre Cécile—French, 1824-1898. 
346. THE FIsHERMAN’s Famity. Signed P. Puvis de Chavannes, 1887. Canvas 
3214 x 28 in. (Room 39.) Presented by Martin A. Ryerson, 1915. (Illus. 
P- 55-) 
627. Lercenp oF St. GENEVIEVE (Meeting of St. Genevieve and St. Germain with 
Frieze of Saints). Signed P. Puvis de Chavannes, ’79. Canvas 30% x 3258 
X 5234 x 321% center 30/4 x 35 r. panel 3014 x 3234 x 5234 X 35 x 5234 x 32 in. 
(Room 39.) Purchased from the Wirt D. Walker Fund, 1923. (Illus. p. 56.) 
841. THESacrED Grove. Signed P. Puvis de Chavannes. Canvas 3514 x 82 in. 
(Room 25.) Palmer Collection, 1922. (lllus. p. 57.) 
PUY, Jean—French contemporary. 
*612. Woman In Rep. Signed J. Puy, 1912. Canvas 2314 x19 in. Purchased 
1921. 
RAEBURN, Sir Henry—Scottish, 1756-1823. 
330. Dr. WetsH Tennent (Portrait). Canvas 49x39 in. (Room 27.) Pre- 
sented in memory of R. Hall McCormick by Sarah L. McCormick, 1920. 
(Illus. p. 33.) 
RAFFAELLI, Jean Francois—French, 1850-1924. 
842. Notre DameDe Paris. Signed J. F. Raffaelli. Canvas 29x 25in. (Room 
25.) Palmer Collection, 1922. 
843. Piace DE LA Trinité, Paris, 1879. Signed J. F. Raffaelli. Canvas 29 x 
281% in. (Room 25.) Palmer Collection, 1922. (Illus. p. 69.) 
RAPHAEL-—Italian, 1483-1520 (Copy). 

55. Maponna or THE Cuair (Madonna della Sedia). Original in the Pitti 
Gallery, Florence, no. 151. Canvas circular diameter, 2914 in. (Ryerson 
Library.) Presented by Mrs. H. B. Bergen, 1901. 

RAVLIN, Grace—American, 1865—. 

*459. CHRYSANTHEMUMS. Signed Ravlin. Canvas 26x21 in. Presented by the 
Friends of American Art, 1921. 

*411. Procession OF THE REDENTORE, VENICE. Signed Ravlin, V.’14. Canvas 
25x231in. Presented by the Friends of American Art, 1914. 


150 THE ART INS TDM TE. Of}, (Corea 


REAM, Cadurcis Plantagenet—American, 1837-1917. 

*534. Purpie Piums (Prunes Monsieur). Signed C. P. Ream. Canvas 16 x 22 
in. Bequest of Catherine M. White, 1899. 

REDFIELD, Edward Willis—American, 1868—. 

535- CENTER Bripce, Pa. Signed E. W. Redfield. Canvas 36x s50in. (Room 
52a.) Purchased from the W. Moses Willner Fund, 1907. 

REGNAULT, Henri—French, 1843-1871. 

601. Younc Woman’s Portrair. Canvas 35% x 28% in. (Room 39.) Pur- 
chased from the Stickney Fund, 1921. (Illus. p. 68.) 

REMBRANDT—Dutch, 1606-1669. 


764. HARMEN GERRITZ. VAN Rijn (Rembrandt’s Father). Signed with mono- 
gram Rd. Canvas 33 x301in. (Room 27.) W.W. Kimball Collection, 1922. 
(Illus. p. 11.) 


11. Younc Girt at AN Open Hatr-Door. Signed and dated 1645. Canvas 
405% x 34% in. (Room 32.) Presented by Martin A. Ryerson, 1894. (Illus. 
p- 13.) 
RENOIR, Auguste—French, 1841-1919. 
844. Canogists’ Breakrast (Déjeuner de canotiers). Canvas 21% x 25% in. 
(Room 26.) Palmer Collection, 1922. (Illus. p. 67.) 


845. Marine; THE Wave. Signed Renoir, ’79. Canvas 2514 x 39 in. (Room 
26.) Palmer Collection, 1922. 


846. Near THE Lake (Au Bord du lac). Signed Renoir. Canvas 18 x 22 in. 
(Room 26.) Palmer Collection, 1922. 


847. Two Lirrte Circus Girts (Dans le cirque). Signed Renoir. Canvas 18 x 
22 in. (Room 26.) Palmer Collection, 1922. (Illus. p. 66.) 
REYNOLDS, Sir Joshua—English, 1723-1792. 
765. Lapy SaraH BunBury SACRIFICING TO THE GRACES. Canvas 94 x 60 in. 
(Room 27.) W.W. Kimball Collection, 1922. (Illus. p. 29.) 
RIBOT, Augustin Theodule—French, 1823-1891. 
248. THe Music Lesson. Signed T. Ribot. Canvas 22% x 1634 in. (Room 
40.) Nickerson Collection, 1900. (Illus. p. 54.) 
RICHARDS, William Trost—American, 1833-1905. 
*249. THe Aucust Moon. Signed Wm. T. Richards, ’89. Canvas 18 x 31% in. 
Nickerson Collection, 1900. 
RICO y ORTEGA, Martin—Spanish, 1850-1908. 


250. CANAL IN VENICE (Canaletto de Santi Apostoli). Signed Rico. Canvas 
2814 x 1854 in. Nickerson Collection, 1900. 


*XIII. Toe House or Pirate. Water color 1234 x 1934 in. > Presented by Mr. and 
Mrs. Potter Palmer, Fr., 1922. 

RIP, Willem Cornelis—Dutch, 1856—. 

*286. Ducks 1n THE Marsu. Water color 876 x 13% in. Nickerson Collection, 
1900. 

RITSCHEL, William—American, 1864—. 


*412. Desert Wanperer, Navajo. Signed W. Ritschel, 1912. Canvas 48 x 38 
in. Presented by the Friends of American Art, 1912. 


Cree O GUE. OF PACDN TEN GS II 


go9. THE PLay or THE WAVES, CARMEL-BY-THE-SEA, CALIFORNIA. Signed W. 
Ritschel. Canvas 4914 x 60 in. (Room 47.) Walter H. Schulze Memorial, 
presented by Mr. and Mrs. Paul Schulze, 1924. 

ROBERT, Hubert—French, 1733-1808. 


349. THE Fountains. Canvas 100xg2 in. (Room 35.) Presented by William 
G. Hibbard, 1907. (Illus. p. 45.) 

348. THe Lanpinc-Puiace (L’Embarcadére). Signed H. Robert, 1788. Canvas 
100 x92 in. (Room 35.) Presented by R. T. Crane, 1901. 


347. Tue Ose xisx. Signed H. Robert, 1787. Canvas 100 x g2 in. (Room 35.) 
Presented by Clarence Buckingham, 1901. 


350. Ox.p TempLe. Canvas 100x92 in. (Room 35.) Presented by A. C. Bart- 
lett, 1901. 
ROELOFS, Willem—Dutch, 1822-1897. 
*287. In Pasture. Signed Willem Roelofs. Water color 15% x 2774in. Nicker- 
son Collection, 1900. 
ROMNEY, George—English, 1734-1802. 
766. Lapy Francis Russert (Anne Kershaw), 1785/7. Canvas 50x 40 in. 
(Room 27.) W.W. Kimball Collection, 1922. (Illus. p. 32.) 
ROSENTHAL, Toby E.—American, 1848-1917. 
*536. ELaIne. Signed Toby E. Rosenthal, Munich, 1874. Canvas 37% x 61 in. 
Presented by Mrs. Maurice Rosenfeld, 1917. 
ROUSSEAU, Theodore—French, 1812-1867. 
251. Autumn Day. Wood 14x 21in. (Room 42.) Nickerson Collection, 1900. 


134. Lanpscape. Signed Th. Rousseau. Wood 834x10% in. (Room 38.) 
Henry Field Memorial Collection, 1917. 


133. Sprinc. Signed Th. Rousseau. Wood 1614 x22 in. (Room 38.) Henry 
Field Memorial Collection, 1917. 
ROYBET, Ferdinand—French, 1840-1920. 
*430. THE ASTRONOMER. Wood 3134 x 2134 in. Presented by the Heirs of E. A. 
Driver, 1905. 
*187. THE TRUMPETER. Signed F. Roybet. Wood 24x17% in. A. A. Munger 
Collection, 1901. 
RUBENS, Petrus Paulus—Flemish, 1577-1640. 
14. AmBrocio SpINoLa (1569-1630) (Portrait). Canvas 285 x 235 in. (Room 
32.) Presented by Mr. and Mrs. Frederick W. Crosby, 1918. (Illus. p. 8.) 
RUISDAEL, Jacob van—Dutch, 1628-1682. 


s. WATERFALL BErorE A CastLE. Monogram on face of rock. Canvas 2754 
x 2194 in. (Room 32.) Presented by Henry C. Lytton, 1905. 


767. WATERFALL Near A CasTLeE. Canvas 20x17 in. (Room 27.) W. W. 
Kimball Collection, 1922. 
RYDER, Chauncey Foster—American, 1868—. 
*413. Mistry Mornina; Lisrary Lane. Signed Chauncey F. Ryder. Canvas 
32x 401in. Presented by the Friends of American Art, 1913. 
462. Mount Lovewe i. Signed Chauncey F. Ryder. Canvas 44x57 in. 
(Room 52a.) Presented by the Friends of American Art, 1921. 


1$2 THE ART INS TIDU TE? OF (Chee 


SARGENT, John Singer—American, 1856-1925. 
415. Mrs. CuHartes Girrorp Dyer (Portrait). Signed “To my friend Mrs. 
Dyer, John S. Sargent, Venice, 1880.”’ Canvas 244% x17 in. (Room 48.) 
Presented by the Friends of American Art, 1916. (Illus. p. 102.) 


414. THE Fountain. Signed John S. Sargent. Canvas 28'%x 22 in. (Room 
48.) Presented by the Friends of American Art, 1914. 


651. Mrs. GeorGe Swinton (E. Ebsworth) (Portrait), 1906/7. Signed J. Singer 
Sargent. Canvas 90x49 in. (Room 39.) Purchased from the Wirt D. 
Walker Fund, 1922. (Illus. p. 103.) 

SASSOFERRATO (Giovanni Battista Salvi)—Italian, 1605-1685. 

* 42. Viroin. Canvas 19% x15% in. Presented by Hobart C. Chatfield-Taylor, 
1910. 

SAVAGE, Edward—Ame rican, 1761-1817. 

559. WASHINGTON IN 1793. Signed E. Savage, 1793. Canvas 27% x 22 in. 
(Room 53.) Presented by Katharine Colvin, 1921. (llus. p. 85.) 

SAVAGE, Eugene Francis—American, 1883—. 

463. Arpor Day. Signed Eugene Francis Savage. Canvas 45 x 33% in. 
(Room 48.) Presented by the Friends of American Art, 1921. (Illus. p. £18.) 

SCHOFIELD, Walter Elmer—American, 1867—. 

416. Buttp1Inc THE Correr-Dam. Signed Schofield. Canvas 50 x 60in. (Room 
52.) Presented by the Friends of American Art, 1914. 

gio. THE Power-House, Fauis Vittace. Signed Schofield. Canvas 4o x 49 in. 
(Room 47.) Walter H. Schulze Memorial, presented by Mr. and Mrs. Paul 
Schulze, 1924. 

SCHRAMM-ZITTAU, Rudolph—German, 1874—. 

*351. GerESEATPiay. Signed Rudolph Schramm-Zittau. Canvas 58% x 119 in. 
Presented by Fritz von Frantzius, 1913. 

SCHREYER, Adolph—German, 1828-1899. 


252. ARAB Scouts ON THE Marcu. Signed Ad. Schreyer. Canvas 20% x 33% 
in. (Room 42.) Nickerson Collection, 1900. 


171. FLEEING FROMTHE Fiames. Signed Ad. Schreyer. Canvas 4034 x 6936 in. 
(Room 40.) 4. 4. Munger Collection, 1901. 


*135. Man with Lance Ripinc THRouGH THE Snow. Signed Ad. Schreyer. 
Wood 634 x 914 in. Henry Field Memorial Collection, 1917. 

*432. Wartinec. Signed Ad. Schreyer. Canvas 244% x 18% in. Presented by Mrs. 
W.G. Hibbard, 1912. 

SEYFFERT, Leopold Gould—American, 1887—. 


464. AMopev. Signed Leopold G. Seyffert, 1921. Canvas 414% x45in. (Room 
46.) Presented by the Friends of American Art, 1921. 


SHAW, Annie Cornelia—American, 1852-1887. 
538. THe Russert Year. Signed Annie C. Shaw, 1884. Canvas 297 x 48 in. 
(Room 4.) Presented by the Opera Festival Association, 1894. 
SHIRLAW, Walter—American, 1837-1909. 


539. WALTER SHIRLAW (Portrait). Signed W. Shirlaw, 1878. Canvas 2758 x 
21%in. (Room 41.) Presented by Joseph M. Rogers, 1887. 


Grea. 0.G.UE! OF PAINTINGS 153 


SILBERT, Ben—American contemporary. 

*XIV. Lapy 1n OrancGE (Portrait). Signed Silbert, 1923. Water color 2434 x 1914 
in. Presented by a Patron of the Artist, 1924. 

SIMON, Lucien—French, 1865—. 


*352. Mass 1n Brittany. Signed Simon. Canvas 66x 83 in. Purchased from 
the 8. A. Kent Fund, 1905. 


614. LuctEen Simon (Portrait). Canvas 38 x 27in. (Room 41.) Purchased from 
the Stickney Fund, 1921. 
SISLEY, Alfred—French, 1839-1899. 


*768. THeEStouT Popiar (Legros peuplier). Signed Alfred Sisley, 1891. Canvas 
22x30in. W.W. Kimball Collection, 1922. 


848. ViLtLace Street iN Moret (Une Rue a Moret). Signed Sisley. Canvas 
24x29. (Room 26.) Palmer Collection, 1922. 
SMITH, Joseph Lindon—American, 1863—. 
*s40. A SacriFictat Buti. Detail from a relief on the Roman Forum. Canvas 
37x50 in. Purchased 1910. 
SNAPP, Frank—-American contemporary. 
*XV. AReErtection. Water.color 23% x 1538in. B.A. Eckhart Purchase Prize, 
1922. 
SORGH, Hendrik Martensz (Rokes)—Dutch, 1621-1682. 
*188. Dutcu InTERIor. Signed H. Zorg, 1661. Wood 16x 21% in. 4. 4. 
Munger Collection, 1901. 
SOROLLA y BASTIDA, Joaquin—Spanish, 1863-1923. 
353. THE Two Sisters, Vatencta. Signed J. Sorolla, 1909. Canvas 68% x 44 
in. (Room 45.) Presented in memory of William Stanley North (1846-1908) 
by Mrs. William S. North, 1911. (Illus. p. 77.) 
SPARHAWK-JONES, Elizabeth—American, 1885—. 
*417. SuHop-Giris. Signed Elizabeth Sparhawk-Jones. Canvas 38 x 48 in. Pre- 
_ sented by the Friends of American Art, 1912. 
SPENCER, Robert—American, 1879—. 
418. THE Huckster Carr. Signed Robert Spencer, 1913. Canvas 30 x 36 in. 
(Room 46.) Presented by the Friends of American Art, 1913. 
SPRING, Alfons—German, 1841—. 
*253. Nor Convincep. Signed A. Spring, Muenchen. Wood 22% x 29% in. 
Nickerson Collection, 1900. 
STEEN, Jan—Dutch, c. 1626-1679. 
4. THe Famity Concert. Signed J. Steen, 1666. Canvas 3414 x 3934 in. 
(Room 32.) Presented by T. B. Blackstone, 1891. (Illus. p. 16.) 


STEVENS, Alfred—Belgian, 1828-1906. 
164. AT THE Raitway Station. Signed Alfred Stevens. Wood 26% x 19} in. 
(Room 40.) 4. 4. Munger Collection, 1901. 
STEWART, Julius L.—American, 1855-1919. 


*653. THE Go.tpen Rose. Signed J. L. Stewart. Canvas 55 x38 in. Presented 
by Mrs. Ellie Stewart Brolemann, 1924. 


154 THE ART INS FLT UTES OF (Chae 


STUART, Gilbert—American, 1755-1828. 

419. Major-GenerAL Henry Dearsorn (Portrait) (1751-1829), Secretary of 
War under Jefferson. Wood 283% x 2234 in. (Room 53.) Presented by the 
Friends of American Art, 1913. 

652. Grorce WASHINGTON (full length portrait). Canvas 92 x 57% in. (Room 
50.) Presented by the people of Chicago and Vicinity, through Mayor Dever’s 
Committee of 75, Paul Schulze, Chairman, 1924. (Illus. p. 83.) 


SULLY, Thomas—American, 1783-1872. 


*492. Juntus Brutus Booru (Portrait). Canvas 25 x30 in. Presented through 
the Friends of American Art by William O. Goodman, 1923. 


453. Mrs. Georce Lincen (Portrait). Canvas 244% x 24in. (Room 53.) Pre- 
sented by the Friends of American Art, 1917. (Illus. p. 86.) 


SYMONDS, George Gardner—American, 1863—. 


541. THe Top or THE Hitt anp Beyonp. Signed Gardner Symons. Canvas 
40x 50in. (Room 52a.) Purchased from the W. Moses Willner Fund, 1921. 


420. THE WINTER SuN. Signed Gardner Symons. Canvas47%x71%in. Pre- 
sented by the Friends of American Art, 1910. 


TANNER, Henry Ossawa—American, 1859—. 


421. THE Turee Marys. Signed H. O. Tanner. Canvas 42x50 in. (Room 
46.) Presented by the Friends of American Art, 1913. 


542. THe Two DiscipLes aT THE Toms. Signed H.O. Tanner. Canvas 50% x 
40% in. (Room 45.) Purchased from the Robert Alexander Waller Memorial 
Fund, 1922. (Illus. p. 104.) 
TENIERS, David—Flemish, 1610-1690. 
10. THe Guarp-House. Signed D. Teniers. Copper 2858 x 2134 in. (Room 
32.) Presented by Mrs. George N. Culver, 1905. 


THAYER, Abbott Henderson—American, 1849-1921. 


494. Boy’s Heap (Sketch). Signed A. Thayer. Canvas 2576x 19% in. (Room 
1.) Presented by the Friends of American Art, 1923. 


THEOTOCOPULI, Dominico (El Greco)—Spanish, c. 1547-1614. 


50. THE ASSUMPTION OF THE VIRGIN. Canvas 158x90 in. White paper in 
lower right-hand corner bears a Greek inscription designating Domenikos 
Theotokopoulos, a Cretan, as the author of the painting. The picture was 
painted in 1577 for the reredos of the chapel altar of the convent of Santo 
Domingo el Viejo, where it remained until purchased by the Infante Don 
Sebastian Gabriel, after whose death the painting was acquired by Durand- 
Ruel of Paris from the legatees of the Infanta Donia Christina, in 1904. 
(Room 35.) Presented in memory of Albert Arnold Sprague by Nancy Atwood 
Sprague, 1915. (Illus. p. 76.) 


THOMPSON, Harry—English, died 1901. 
*329. Un Catvarre. Signed H. Thompson. Canvas 79x 118% in. Purchased 
by subscription and presented, 1884. 


*328, LANDSCAPE WITH SHEEP, Picarpy. Signed Harry Thompson. Canvas 
3238 x 4614 in. Presented by Mrs. fames H. Dole, 1904. 
TORREY, Elliot Bouton—American, 1867—. 


422. Orvieto. Signed Elliot Torrey. Canvas 40x50 in. (Room 52.) Pre- 
sented by the Friends of American Art, 1915. 


* 


Gralla LOG Use: OF PAIN LUNGS 155 


TROYON, Constant—French, 1810-1865. 


849. CatTLe Scene. Signed C. Troyon, 1862. Canvas 3034 x 4158 in. (Room 
25.) Palmer Collection, 1922. 


*138. Lanpscape. Signed Vente Troyon. Canvas 13x9% in. Henry Field 
Memorial Collection, 1917. 


*289. LanpscaPE wiTH CaTTLe. Signed C. Troyon. Pastel 307% x 247 in. 
Nickerson Collection, 1900. 


137. Pasture IN Normanpy. Signed C. Troyon, 1852. Wood 151% x 2154 in. 
(Room 38.) Henry Field Memorial Collection, 1917. 


136. THe Roap To Market. Signed C. Troyon. Canvas 361% x 287% in. (Room 
38.) Henry Field Memorial Collection, 1917. (Illus. p. 49.) 


139. UNFINISHED StuDy OF SHEEP. Signed C.T. Canvas 18 x147in. (Room 
38.) Henry Field Memorial Collection, 1917. 
TRUMBULL, John—American, 1756-1843. 
#496. Wii1i1Am Brown (Merchant of Norwich, Conn.). Canvas 36% x 28 in. 
Presented by the Friends of American Art, 1923. 
TURNER, Joseph Mallord William—English, 1775-1851. 
769. Dutcu Fisuinc Boats. Canvas 90x 71 in. (Room 27.) W.W. Kimball 
Collection, 1922. (Illus. p. 36.) 
TWACHTMAN, John Henry—American, 1853-1902. 


454. FROMTHE Upper TERRACE. Signed J.H. Twachtman. Canvas 25 x 30 in. 
(Room 46.) Presented by the Friends of American Art, 1919. 


gi1. Gtoucester. Signed J. H. Twachtman. Canvas 25 x 30 in. (Room 47.) 
Walter H. Schulze Memorial Collection, presented by Mr. and Mrs. Paul 
Schulze, 1924. 

423. Snow-Bounp. Signed J. H. Twachtman. Canvas 2514 x 30% in. (Room 
46.) Presented by the Friends of American Art, 1917. (Illus. p. 98.) 

UFER, Walter—American, 1876—. 

#424. SOLEMN PLEDGE, Taos Inpians. Signed W. Ufer. Canvas 401% x 36 in. 
Presented by the Friends of American Art, 1916. 

UPRKA, Josa—Czecho-Slovak, 1862—. 

*XVI. Kyyovanka Tieinc HER HanpkercuieF. Signed J. Uprka, ’19. Water 
color 14x 21 in. Presented by Chicago Friends of Czecho-Slovak Art, 1922. 

VAN DER WEYDEN, Harry—American, 1868—. 

425. Curistmas Eve. Signed H. Van der Weyden, 1910. Canvas 42% x 52% 
in. (Room 52.) Presented by the Friends of American Art, 1910. 

VAN MARCKE, Emile—French, 1827-1890. 

770. CatTTLe1Nn Hitty Country. Signed Em. van Marcke. Canvas 39 x 26 in. 
(Room 27.) W.W. Kimball Collection, 1922. 

*161. CatTrLEIN Meapow Lanps. Signed Em. van Marcke. Canvas 2634 x 3914 
in. 4. A. Munger Collection, 1901. 

*140. Cow (Study). Signed Em. van Marcke. Canvas 224% x33 in. Henry 
Field Memortal Collection, 1917. 

*oc¢5, A GoipEen Autumn Day. Signed Em. van Marcke. Canvas 3238 x 22% 
in. Nickerson Collection, 1900. 

*141, Tue Tere-A-Tfte. Signed Em. van Marcke. Canvas 1034 x 157% in. 
Henry Field Memorial Collection, 1917. 


156 THE ART INSTITUTE (0-5 Chie 


VEDDER, Elihu—American, 1836-1923. 
455. THE Fates GATHERING IN THE STARS. Signed Elihu Vedder, Rome, 1887. 
Canvas 45 x 23% in. (Room 53.) Presented by the Friends of American 
Art, 1919. (Illus. p. 92.) 
*256. Stormin Umpsrta. Signed Elihu Vedder, Rome, 1875. Canvas 13 x 45 in. 
Nickerson Collection, 1900. 
VELDE, Adriaen van de—Dutch, 1636-1672. 
2. Ficures AND CaTTie. Signed A. V. Velde F. 1664. Canvas 2656 x 3034 
in. (Room 32.) Presented by Sidney A. Kent, 1894. 
VERBOECKHOVEN, Eugéne Joseph—Belgian, 1799-1881. 
*175. SHEEP ON Hiusipe. Signed Eugéne Verboeckhoven ft. 1880. Canvas 
431% x 3738 1n. A. A. Munger Collection, 1901. 
VERHAERT, Pieter—Belgian, 1852-1908. 
640. AT THE JUSTICE’S OF THE Peace. Signed Pieter Verhaert, 1878. Canvas 
1034 x 13 in. (Room 40.) Bequest of Mrs. F. C. Black, 1921. 


VERSCHUUR, Wauterus—Dutch, 1812-1874. 
182. A FremisH Inn. Signed W. Verschuur. Canvas 31 x 47% in. (Room 3.) 
A. A. Munger Collection, 1901. 


VIBERT, Jehan Georges—French, 1840-1902. 

*259. PatmSunpay. Signed J. G. Vibert, 1873. Canvas 2138 x 15%in. Nicker- 
son Collection, 1900. 

*153. THe TRIAL oF Pierrot. Signed J. G. Vibert. Water color 15% x 24% in. 
A. A. Munger Collection, 1901. 


VROLYK, Johannes Martinus—Dutch, 1846-1896. 
*290. LANDSCAPE NEAR Utrecut. Water color 1934 x 263 in. Nickerson Col- 
lection, 1900. 


WAHLBERG, Alfred Leonard—Swedish, 1834-1906. 

*165. BricHT Moon.icut In SweDeN. Signed Alf. Wahlberg. Canvas 3434 x 
5634 in. A. A. Munger Collection, 1901. 

WALDO, Samuel Lovett—American, 1783-1861. 


461. J. F. Mackie (Portrait). Canvas 35%4 x29 in. (Room 53.) Presented by 
the Friends of American Art, 1921. 


460. Mrs.J.F. Mackie (Portrait). Canvas 351% x 29in. (Room 53.) Presented 
by the Friends of American Art, 1921. 


WARNER, Everett Longley—American, 1877—. 
426. SNOWFALL IN THE Woops. Canvas 40x50 in. (Room 48.) Presented by 
the Friends of American Art, 1915. 
WAUGH, Frederick Judd—American, 1861—. 


427. THE OuTeR Surr. Signed Waugh. Canvas 64x 88in. (Room 48.) Pre- 
sented by the Friends of American Art, 1911. 


*428. SurranD Foc, Monuecan, Me. Signed Waugh. Canvas 52x 66in. Pre- 
sented by the Friends of American Art, 1912. 
WEEKS, Edwin Lord—American, 1849-1903. 


261. A Mussutman’s Toms, AHMEDABAD, INDIA. Signed E. I. Weeks, with seal. 
Canvas 29 x 2354 in. (Room 42.) Nickerson Collection, 1900. 


Grae OG UE O Fe PAN’ IN,GS 157 


WEIR, Julian Alden—American, 1852-1919. 


429. THe Gray Bopice. (Portrait of Miss M.). Signed J. Alden Weir, 1898. 
Canvas 30x 25 in. (Room 46.) Presented by the Friends of American Art, 
1912. 

912. THe Lute Prayer. Signed J. Alden Weir. Canvas 33% x 22 in. (Room 
47.) Walter H. Schulze Memorial Collection, presented by Mr. and Mrs. Paul 
Schulze, 1924. (Illus. p. 96.) 

WEISSENBRUCH, Johannes Hendrik—Dutch, 1824-1903. 

*291. At Home. Signed J. H. Weissenbruch. Water color 13 x 1854 in. Nicker- 
son Collection, 1900. 

WELSH, William P.—American, 1889—. 

*XVII. Prisoners or War. Signed Welsh. Water color 26x31 1n. B. A. Eck- 
hart Purchase Prize, 1921. 

WENDT, William—American, 1865—. 

*549. CaALiFoRNIA. Signed William Wendt, 1915. Canvas 3514 x 71% in. Pre- 
sented by William F. Tempel, 1918. 

550. Dry Arroyo. Signed William Wendt, 1918. Canvas 25 x30 1n. (Room 
52.) Presented by Wallace L. De Wolf, 1918. 

543. THE Sittence or Nicut. Signed Wm. Wendt, 1910. Canvas 40x 55 in. 
(Room 4.) Presented by Dr. A. F. Ochsner, Mrs. Margaret Cook, 7. N. Eisen- 
drath, Dr. W. H. Allport, Mrs. T. A. Shaw, Miss Bertha Rudolph and Mrs. 
Pauline Dohn Rudolph, 1911. 

430. Wen ALL THE Wor tp Is Younc. Signed William Wendt, 1911. Canvas 
40x 55% in. (Room 46.) Presented by the Friends of American Art, 1911. 


WEST, Benjamin—Ame rican, 1738-1820. 


557- A GeNTLEMAN’s Portrait. Canvas 5014 x40 in. (Room 53.) Presented 
by the Family of Byron L. Smith, 1918. (Illus. p. 82.) 


431.. “HE THAT IS WITHOUT SIN AMONG you.” Canvas 51 x 3914 in. (Room 53.) 
Presented by the Friends of American Art, 1915. 


544. TRoiLus AND CressipA. Wood 1334 x 167% in. (Room 27.) Presented by 
William O. Cole, 1900. 

WHISTLER, James A. McNeill—American, 1834-1903. 

433. In THE Stupio. Signed with the butterfly. Wood 2434 x 1834 in. (Room 
48.) Presented by the Friends of American Art, 1912. (Illus. p. go.) 

850. Gray AND GREEN; THE SILVER SEA. Signed Whistler. Canvas 20 x 29% 
in. (Room 25.) Palmer Collection, 1922. 

851. Gray AND SiLveR; BatrerseEA Reacu. Signed Whistler, 63. Canvas 
19% x 2634 in. (Room 25.) Palmer Collection, 1922. 

545. Nocrurne, SoutrHampTon Waters. Canvas 20 x 30 in. (Room 39.) Pur- 
chased from the Stickney Fund, 1900. 


WIGGINS, Guy Carleton—American, 1883—. 

456. Licutiy Fatiinc Snow. Signed Guy Wiggins. Canvas 34 x 40in. (Room 
46.) Presented by the Friends of American Art, 1917. 

913. Snow-CrowneD Hits. Signed Guy C. Wiggins. Canvas 3314 x 39% in. 
(Room 47.) Walter H. Schulze Memorial Collection, presented by Mr. and 
Mrs. Paul Schulze, 1924. 


158 THE ART INS TILT UTE O} CHC 


WILLIAMS, Frederick Ballard—American, 1871—. 


914. Frere By THE Lake. Signed Fredk. Ballard Williams. Canvas 25 x 2934 
in. (Room 47.) Walter H. Schulze Memorial Collection, presented by Mr. 
and Mrs. Paul Schulze, 1924. 

WILLIAMS, George Alfred—American, 1875—. 


434. THe Drama or Lire—TuHE Marcinat Way. Signed George Alfred Wil- 
liams, 1913. Canvas 22x30 1n. (Room 52a.) Presented by the Friends of 
American Art, 1914. 

WILLIAMS, John Scott—American, 1877—. 
*XVIII. Poot 1n SHERMAN GLEN. Signed J. Scott Williams. Water color 13 x 
1434 in. Brown and Bigelow Purchase Prize, 1924. 

WILSON, Richard—English, 1713-1782. 

771. ITALIAN LANDSCAPE WITH CLIFFS AND CAsTLE. Canvas 30x 24in. (Room 
27.) W.W. Kimball Collection, 1922. (Illus. p. 28.) 

WYANT, Alexander Helwig—American, 1836-1892. 

*262. Epce or THE Woops. Canvas 144% x 201in. Nickerson Collection, 1900. 


ZIMMERMANN, Ernst—German, 1852-1901. 
155. NeeDLEssLy Anxious. Signed E. Zimmermann, 1875. Canvas 37 x 29 in. 
(Room 40.) 4. 4. Munger Collection, 1901. ° 
ZORN, Anders Leonard—Swedish, 1860-1920. 


852. Mrs. Porrer Patmer (Bertha Honoré) (Portrait). Signed Zorn, Chicago, 
1893. Canvas 101 x55 in. (Room 25.) Palmer Collection, 1922. 

354. Maria SHELDON Scammon, founder of the Scammon Lectures (Portrait). 
Died 5/5/1901. Signed Zorn, 1895. Canvas 32 x 2534 in. (Room 39.) 
Presented by Mrs. Fohn Y. Scammon, 1901. 


ZUBIAURRE, Valentin de—Spanish, 1879—. 


*355. Uncrte Taturo oF Secovia. Canvas 25% x 30% in. Purchased from the 
W. Moses Willner Fund, 1913. (Illus. p. 78.) 


PeteeNGS LOANED TO THE ART INSTITUTE 
BY MARTIN A. RYERSON 


Thirteenth to Eighteenth Century Paintings 


2000. AMIENS. School cf. Ascension or Curist. 
2001. Descent OF THE Hoty Guosr. 
2002. JOHN THE Baptist. 
2003. THE Last Supper. 
2004. St. Honore. 
2005. St. Huco. 
2006. VIRGIN AND CHILD. 


2007. ANTONIO ROSSELLINO. Maponna anp Cui tp (Stucco relief). 


2008. BORCH, Gerard ter. Portrair or A Man. 
2009. Portrait oF A WoMAN. 


2010. BOUCHER, Francois, SLEEPING Girt. 

2011. BRUYN, Bartel de. Maponna, St. Anne, St. GEREON AND Donor. 
2012. CAPPELLE, Jan van de. Cam (Marine). 

2013. CLEEF, Joos van de Beke van. Hoty Famity. 
2014. CODDE, Pieter de. Tuer Assemsty. 

2015. CORNEILLE DE LYON. Louise Hatiewyn. 
2016. CUYP, Aelbert. TRAVELLERS AT AN INN. 

2017. DAVID, Gheraerd. THe EnrompMent. 

2018. DIDO MASTER. Tue Apvenrures or ULyssEs. 
2019. DONATELLO, School of. Nariviry (Stucco relief). 
2020. FLEMISH, XV Century. ANnNnuNcIATION. 

2021. FLEMISH, XVI Century. Hoty Famity. 


2022-23. FLEMISH, XV Century. Sr. Aucustine, St. Bripcet anp Donors 
(2 panels). 


2024. FLORENTINE SCHOOL. Mapowna wiru Saints. 

2025. GEROLAMO DA SANTA CROCE. Maponna. 

2026. CHIRLANDAJO, Ridolfo.: Porrrair or a Man. 

2027. GHIRLANDAJO, School of. Brrru or St. Joun. 

2028-33. GIOVANNI DI PAOLO. Stx Panets From THE LiFe oF St. Joun: In 


THE DESERT; ON THE BANKS OF THE JORDAN; IN Prison; SALOME 
Asks FOR THE Heap oF St. Joun; THE BEHEADING; SALOME 
ReEcEIVES THE Heap. 


2034-39. GOYA, Francisco. S1x Panets: THe Capture oF THE Banpir Mara- 
GATO BY THE Monk PeEpro DE ZALDIVIA. 


2040. Istporo Marquez (Portrait). 
2041. GOYEN, Jan van. Tue Deap Cao. 


159 


160 THE ART INSTITUTE OF GCHIiGa 


2042. GREUZE, Jean Baptiste. THe LirrLte Pourer. 


2043. GUARDI, Francesco. Arcuway anv Ruins. 
2044. Piazza San Marco. 
2045. RvuINs. 


2046. HOOCH, Pieter de. Tue Firesive. 

2047. HUYSMANS, Cornelis. Hottow Roap. 

2048. ITALO-BYZANTINE SCHOOL. Diprycu: Maponna anp Crucifixion, 
2049. ITALO-BYZANTINE SCHOOL. Maponna anv CHILD. 

2050. KOERBECKE, Johann. ANnnuncIATION. 

2051. LUCAS VAN LEYDEN. Aporartion oF THE Mact1. 

2052. MAESTRO DEL BAMBINO VISPO. Dormirion. 

2053. MAGNASCO, Alessandro. Monks at SupPEr. 

2054. MAITRE DE MOULINS. Annunciation. 

2055-56. MASTER OF FRANKFORT. Donors witH Patron Saints (2 panels). 
2057-58. MASTER OF THE ST. URSULA LEGEND. Donor anv Patron 


SainT; St. JoHn CarryinG Lamp (2 panels). 
2059. MEMLINC, Hans. Maponna anp CHILp. 
2060. MOMPER, Jodocus de. LanpscaPeE. 
2061. NETSCHER, Caspar. Nosieman. 
2062. NEROCCIO DI BARTOLO. Maponna (Stucco relief). 
2063. OCHTERVELT, Jacobus. Musictans. 
2064. OSTADE, Adriaen van. FLEemisH TIPsTER. 
2065. PERUGINO (Pietro Vanucci). Baptism or CuristT. 
2066. NAarIvITy. 


2067. Nout ME TANGERE. 
2068. THE SAMARITAN WoMAN. 


2069. PESELLINO, School of. THe BerroruHat. 

2070. RUISDAEL, Jacob van. Forp 1n THE Woops. 

2071. SCHEEL, Sebastian. TriprycH: Maponna, CHILD AND SaInTs. 
2072-73. SELLAJO, Jacopo del. Susanna AND THE ELpers (2 panels). 
2074. SELLAJO, School of. Tonpo: Vircin anp CHILD. 

2075. SORGH, Hendrik Martensz. HovusewiFe. 

2076. SPANISH, Unknown. Portrait or a Man. 

2077. LO SPAGNA. Sr. CaTHERINE. 

2078. SPINELLO ARETINO. Sr. Francis Before THE Pope. 

2079. SUTTERMANS, Juste. Coronation. 

2080. TADDEO DI BARTOLO. Crucir1xion anp Saints. 


2081. TENIERS, David the Younger. ARMmorer. 
2082. FLAGEOLET PLAYER. 


2083. 


2085. 
2086. 
2087. 
2088. 


2090. 


2091. 


2097. 


2099. 
2100. 


2102. 
2103. 


2104. 


2105. 


2111. 


2112. 


2114. 


BITS. 


2119. 


2121. 


PAINTINGS LOANED TO THE ART INSTITUTE 


TIEPOLO, Giambattista. THe Instrrurion oF THE Rosary. 
2084. Maponna wiry St. Dominic anv St. Hyacintu. 


TURA, Cosimo. PierA. 


VERNET, Carle Joseph. THe Mornino, 


VERBURGH, Dionys. Tue Rune. 

WEYDEN, Rogier van der. JAN DE Gros. 

2089. Maponna AND CHILD. 

YSENBRANDT, Adriaen. Maponna anp CuiILp, 


Nineteenth and Twentieth Century Paintings 


ANDRE, Albert. Anpuze. 

2092. THE AWNING. 

2093. BouquEeT BEFORE WINDow. 
2094. Fruits. 

2095. VILLAGE IN PRovENCE. 

2096. Woman’s Heap. 

BOUDIN, Louis. Porr or Havre. 
2098. Port or TROUVILLE. 


BONVIN, Francois. La SERVANTE. 

CANALS, Ricardo. CiGARRERAS. 

2101. SPANISH CABARET. 

CARRIERE, Eugéne. La Femme av Cuien. 
CEZANNE, Paul. L’Estraque. 

COURBET, Gustave. Ruisseau pu Puirs Norr. 
GUILLAUMIN, Armand. Crozanr. 

2106. GENETIN (River scene). 

2107. Le Marin, vALLEE DE CrozantT. 

2108. Pont CHARRANT. 

2109. Roven. 

2110. THE Mitt at Crozanv. 

HUGUET, Victor. Ravine ar BiskRaAH. 
JONGKIND, Johan Barthold. Boar anp CuHurcu. 
2113. CanaL 1n Houianp. 

LA TOUCHE, Gaston. Parpon 1n Brittany. 
LEPINE, STANISLAS. AppLte Market. 
2116. LANDSCAPE. 

2117. SHORES OF THE MARNE. 

ei tonal, LOUD. 

LE SIDANER, Henri. Serve, Pont Royat. 
2120. La VASQuE. 

LHERMITTE, Léon. Les Lieurs DE GERBEs. 


161 


162 THE VASRT INSTI TACT ES OFC Perran 


2122. LOISEAU, Gustave. Harsor at FEcamp. 
2123. ORCHARD IN BLoom. 


2124. Pont-AvEN. 


2125. MARCHAND, Jean. La Cotte. 
2126. MARQUET, J. Atcters. 


2127. Environs oF ALGIERS. 
2128. Pont St. MIcHEL. 


2129. MAUFRA, Maxime. KeEruHosTIN. 
2130. REMORQUEUR SUR LA SEINE. 
2131. RIVERBANK Farm. 
2132. La VALLéE DE TRE. 


2133. MONET, Claude. CxHarinc Cross, Lonpon. 
2134. COASTGUARD’S SHACK. 
2135. GARDEN AT ARGENTEUILL. 
2136. GARDEN AT GIVERNY. 
2137. Haystacks In WINTER. 
2138. MATINEE EN SEINE. 
2139. NyMPHEAS. 
2140. O_p St. Lazare SratTION. 
2141. Pommes eT Raisins (Fruits). 
2142. PourviLLe CLIFFs. 
2143. Poplars, GIVERNY; SKY OVERCAST. 
2144. San Giorcio Macaiore, VENICE. 
2145. VIEW FROM Cap MartTIN. 
2146. VETHEUIL, SOLEIL COUCHANT. 
2147. WESTMINSTER. 


2148. WATERLOO BrIDGE. 
2149. PIOT, René. FLowers; Harsor BackGRrounp. 
2150. PISSARRO, Camille. Orcuarp. 
2151. REDON, Odilon. ANnpDRomeEDa. 

2552 IN CHAT: 


2153. RENOIR, Auguste. CuHitp 1n Wuire. 
2154. CHRYSANTHEMUMS. 
2155. Fruits 1n Mipt1. 
2156. La Fleur Au CHAPEAU. 
2157. THE Fan. 
2158. SISLEY, A. La Seine A St. Mammes. 


2159. TAS DE SABLE. 
2160. STEVENS, Alfred. La Veuye. 
2161. VLAMINCK, Maurice de. Tue MI ts. 


2162. 
2163. 
2164. 
2165. 
2166. 
2167. 


2181. 
2182. 
2183. 
2184. 
2185. 
2186. 
2187. 


PAINTINGS LOANED TO THE ART INSTITUTE 


American Paintings 
BARTLETT, Frederick Clay. FonrTaineBLeau. 
BEAL, Gifford. Sporticur. 
CAMPBELL, B. R. Monapnock. 
CLARK, Alson S. SpaLatro rrom SAN STEFANO. 
COLMAN, Sam. O tp Tower at AVIGNON. 


DAVIES, Arthur B. Tue Cuorat Sra. 
2168. Ecuo’s Brows. 

2169. Futt-Orsep Moon. 

2170. JEWEL-BEARING TREE OF AMITY. 
2171. HELEN THE Dawn-FLower. 
2172. LAKE AND ISLANDs. 

2173. Listeninc VaALLeys HEar. 

2174. [THE NEARER Forest. 

2175. PEARL AND JET. 

2176. SACRAMENTAL TREES. 

2177. SEMELE. 

2178. SILVER SPRINGS. 

2179. Two Voices. 

2180. WiLLow Boucus. 


DEWING, Thomas W. VIOLONCELLIST. 

DOUGHERTY, Paul. Towertnc Spray. 

GENTH, Lillian M. Bassin De Diane, FonTAINEBLEAU. 
GROVER, Oliver Dennett. Satu Boars. 
HENDERSON, William Penhallow. In THE GarDeEn, 
HOMER, Winslow. Herrina Net. 


INNESS, George. Moon ticut on Passamaquoppy Bay. 
2188. O_p Exim, MEDFIELD. 

2189. Rosy Morninc. 

2190. TARPON SPRINGS. 

2191. VILLA BARBERINI. 


. MAZZANOVICH, Lawrence. Poot oF SILENCE. 
. MYERS, Jerome. Covurrtyarp. 


2194. GRANDMOTHER. 


. OCHTMAN, Leonard. Ocroser. 

. RYDER, Albert Pinkham. Moontuicurt. 

. SARGENT, John Singer. Venetian Giass WorkKERS. 
. TWACHTMAN, John Henry. Tue Wuire Bripce. 


163 


164 


2358. 
2359: 


2365. 


2307; 
2368. 


2375. 


EH ES eACRDP IN SDL TO TE sO iC Bol Ga 


Water Color Paintings 


CEZANNE, Paul. Country Roap. 
DAVIES, Arthur B. ALpine Sunrise. 


2360. 
2361. 
2362. 
2203: 
2364. 


Distant A.ps, RIVER. 
Lorre NEAR ORLEANS. 
MountTaIns AND CASTELLI. 
Nympus. 

On THE LoIRE. 


DEGAS, Edgar. Dancer (Pastel). 


2366. 


Dancer, Bowine (Pastel). 


dVESPAGNAT, Georges. CHILDREN’s HEaDs. 
FOUJITA, T. Appie Harvest. 


2369. 
2370. 
2371. 
2372, 
2373: 
2374- 
2375: 
2376. 
2377: 
HOMER, 
2379- 
2380. 
2381. 
2382. 
2383. 
2384. 
2385. 
2386. 
2387. 
2388. 
2389. 
2390. 
2391. 
2392. 
2393- 
2394- 
2395- 
2396. 
2397- 
2398. 
2399: 


FLOWER GATHERING. 
INNOCENCE AND REALIry. 
Morne_r, CHILD, CHERRIES. 
ORIENTAL DANCE. 

La TotILetre. 
TEETER-TAWTER. 

Tue Dream. 

Tue Kiss. 


YoOuTHFUL AMUSEMENTS. 


Winslow. ADIRONDACKS GUIDE. 
AFTER ToRNADO, BAHAMAS. 
BREAKING STORM. 
Camp-FIRE, ADIRONDACKS. 
Enp or Day, ADIRONDACKS. 
FISHING OFF SCARBOROUGH. 
FLamsBoro Heap. 

GuLF STREAM. 

Lone Boat, ADIRONDACKS. 
Man 1n Boat, Marne. 
MARBLEHEAD. 

Nortu Woops Cius, ADIRONDACKS. 
OutLook, Matne. 

Prout’s Neck. 

Prout’s Neck, BREAKERS. 
Provut’s Neck, Evenine. 
Rapips, ADIRONDACKS. 
RETURN, TYNEMOUTH. 
STOWING SAIL, BAHAMAS. 
SUNSHINE AND SHADOW. 
TYNEMOUTH Priory. 
WartcHER, TYNEMOUTH. 


PAENTINGS LOANED -TO THE ART INSTITUTE 


2400. JONGKIND, J. B. Cuareavu, Core St. Anpre. 


2401. 
2402. 


NEAR GRENOBLE. 
ORNACIEUX. 


2403. MAUFRA, Maxime. AnTIFER. 


2404. 
2405. 
2406. 
2407. 
2408. 
2409. 
2410. 
2411. 
2412. 
2413. 
2414. 
2415. 
2416. 


Bate d’Esca.cRain. 
BATEAUX SUR GREVE. 
Breton VILLAGE. 
CaNnaL, BRUGES. 


‘CLIFFS. 


DovuARNENEZ. 
ETRETAT. 
Erretat, NEEDLE. 
FALAISE. 

Hicu Cuirr. 
SALMON FIsHERS. 
SAPINS. 
STEAMBOAT. 


2417. REDON, Odilon. Fiower Vase, Buve (pastel). 


2418. 


2419. 
2420. 


FLower Vase, GREEN (pastel). 
FEMME ET FLeuvrRs (pastel). 
JEUNE FILLE (pastel). 


2421. SABBAGH, G. H. Roan To SHore. 


2422. 


STILL. LIFE: 


2423. SIGNAC, Paul. Lac d’Annecy. 


2424. 
ZA26. 
2426. 
2427. 
2428. 
2429. 
2430. 
P4a ts 
2432. 
2433- 


Lac d’ANNECY 2. 

Lac d’ANNEcY, SALLANCHES. 
MarINE. 

CALENDULAE. 

FISHERMEN. 

SLUICE GATE. 

Les ANDELYS. 

Tue Bripce. 

Pont Louis; Loma.o. 
GRoIx. 


2434. VLAMINCK, M. de. Curr, Epce or Roan. 


2435. 
2436. 
2437- 
2438. 
2439- 
2440. 
2441. 
2442. 
2443- 


Country Roap. 
Hay. 

Housss. 
LANDSCAPE. 
L’ARBRE. 
LitrLe VILLAGE. 
Storm CLoups. 
STREET CORNER. 
On THE FIELDs. 


16 


~ 


Pe) 


166 THE A\RPOIN STITUTE Fo Chior 


2444. Rep FIeLps. 

2445. Rep House. 

2456. Roap. 

2457. THE VILLAGE. 
2458. THREE TREES. 
2459. VILLAGE STREET. 
2460. VILLAGE STREET 2. 


2221. 


2222. 


2223. 


2224. 


2226. 


Bis, 
2228. 


2229. 


See RePAINTINGS LOANED: TO “CELE 
. AR ESUN SET UT 


. ANGLADA-CAMARASA, Herman. THE ONE WITH THE GREEN Eyes, 
. ARAGON, School of, XV century. Maponna Enruroneb. 


2201. SAINT SEBASTIAN. 


. BEAUDIN, André. Winpow1n Fiorence. (Birch-Bartlett Collection.) 
. BENSON, Ambrogius. Nartiviry. 
. BETTS, Louis. Epwarp B. Butter (Portrait). 


2207. Frank G. Locan (Portrait). (Lent by Frank G. Logan.) 


. BOSCH, Pieter van den. THe Lace-Maker. (Charles L. Hutchinson 


Collection.) 


. BRECKELENKAM, Quiryn. Otp Woman at Spinninc WHEEL. (Lent 


by Mrs. Ernest Dale Owen.) 


. BURNE-JONES, Edward. ANGEL or THE ANNUNCIATION. (Charles L. 


Hutchinson Collection.) 


. CARRIERE, Eugene. A Boy. 
. CASAS, Ramon. Tue Poet or Montmartre. 
. CASSATT, Mary. LirrLe Girt Berore a Winpow. (Charles L. Hut- 


chinson Collection.) 


. CATALAN PRIMITIVE, XV Century. Satnt Acatua, Martyr. 


2216. Saint Lucy. 


. CLARKSON, Ralph. Newron H. Carpenter (Portrait). 
. COROT, Camille. Nympues Sortant pu Bain. (Angell Collection.) 


2218. Farm: Seine-ET-OtsgE. (Charles L. Hutchinson Collection.) 


MCOLFSPHrancis. A Lavy. (Angell Collection.) 
. CRANACH, Lucas (School of). Apam anp Eve 1n Parapise. (Angell 


Collection.) 
CUYP, Jan G. Jan Gerritszoon Cuyp. (Charles L. Hutchinson Col- 


lection.) 


DAUBIGNY, Charles Francois. Banks oF THE O1sE AT Auvers. (Charles 
L. Hutchinson Collection.) 


DELACROIX, Eugene. Tue Lion Hunt. (Angell Collection.) 


DERAIN, André. Lanpscape. (Birch-Bartlett Collection.) 
2225. Grapes (Stitt Lire). (Birch-Bartlett Collection.) 


DE WOLF, Wallace L. Amonc THE Repwoops. (Lent by Wallace L. 
De Wolf.) 


DUPRE, Jules. Cows 1n Stream. (Charles L. Hutchinson Collection.) 
DUFY, Raoul. Natapes. (Birch-Bartlett Collection.) 
DUNOYER pe SEGONZAC, A. Stitt Lire. (Birch-Bartlett Collection.) 


167 


DIAN. 


THE ART INSET. Cae Oc (OC Has eee 


. EWORTH, Hans. Lapy or rH—E WenTWortH Famity. (Lent by Kate S. 


Buckingham.) 


. FLORENTINE PROVINCIAL. Triprycw. (Lent by Cyrus McCor- 


mick, Jr.) 


. FORAIN, Jean Louis. Marerniry. (Lent by Charles H. Worcester.) 


2233. Ticut-rope WaLKER. (Lent by Mrs. Emily Crane Chadbourne.) 


. FOUJITA, T. Le Calvaire. (Birch-Bartlett Collection.) 
. FRAZER, Oliver. Carrer H. Harrison, Sr., as A Boy. (Lent by Carter 


H. Harrison.) 


. FRIESZ, Emile Othon. Composition, Sketcu. (Birch-Bartlett Collec- 


tion.) 
2237. La Myrxa (Nude). (Birch-Bartlett Collection.) 
2238. JarpIn A Touton. (Birch-Bartlett Collection.) 


. FROMENTIN, Eugéne. Aras Boys at Pray. (Charles L. Hutchinson 


Collection.) 


. GAINSBOROUGH-DUPONT. A Gentieman._ (Angell Collection.) 
. GAUGUIN, Paul. Woman witrH CuiLtp AstriDE SHOULDER. (Birch- 


Bartlett Collection.) 

2242. Mauana No Atua. (Birch-Bartlett Collection.) 

GOGH, Vincent van. Stitt Lire: Meton, Fisu, Jar. (Birch-Bartlett 
Collection.) 

2244. La Berceuse (Mme. Roulin). (Birch-Bartlett Collection.) 

2245. On Montmartre. (Birch-Bartlett Collection.) 


. GOYA, Francisco. ALLEGcory oF History. 


2247. ALLEGORY oF Music. 
2248. Boy on A Ram. 

2249. SpanisH Lapy (Portrait). 
2250. DucHEss OF ALBA. 

2251. DuKE OF ALBA. 

2252. Istpro GoNnzALEs. 

2253. Manuet Romero. 


. GREAVES, Walter. Wuistter. (Lent by Mrs. Emily Crane Chadbourne.) 
. HALS, Frans. Boy S1tncine wirH Vioitn. (Angell Collection.) 


2256. Giri Sincinc. (Angell Collection.) 
2257. YONKHEER VAN Heytuuyzen. (Charles L. Hutchinson Collection.) — 


. HARLOW, George Henry. Lapy wirn a Doc. (Angell Collection). 
. HAWTHORNE, Charles W. Moruernoop TriumpHant. (Lent by Cyrus 


McCormick, Jr.) 


. HERBIN, Auguste. L’Instirut pe France, Paris. (Birch-Bartlett Col- 


lection.) 
2261. Stitt Lire: Juc, Asters, Cyctamen. (Birch-Bartlett Collection.) 
2262. TRAVERSE Du Petit Jesus, Cassis. (Birch-Bartlett Collection.) 
2263. Gorces DE LA Love. (Birch-Bartlett Collection.) 
2264. L’Aréne. (Birch-Bartlett Collection.) 
2265. Viapuct, Trees, WATERFALL. (Birch-Bartlett Collection.) 


PAINTINGS LOANED TO THE ART INSTITUTE 169 


. HODLER, Ferdinand. Le Granp Muveran. (Birch-Bartlett Collection.) 


2267. JAMES VIBERT, ScuLtpTor. (Birch-Bartlett Collection.) 
2268. Heap oF A SotpierR AT Morar. (Birch-Bartlett Collection.) 


. HUGUET, Jaime. Diprycu. 


2270. THE MIRACLE. 


- HUNT, William Morris. FLower Girt. (Lent by Mrs. Lysander Hill.) 

. INNESS, George. A Ratny Day. 

. JACOMART, Jaime Baco. Maponna Anp CHILp. 

. KEYSER, Thomas de. Porrrair or A Man. (Charles L. Hutchinson 


Collection.) 


. LA FRESNAYE, R. de. Lanpscape. (Birch-Bartlett Collection.) 
Miao ON. Carl. A Boy. 
. LA TOUCHE, Gaston. Pacan Fountain. (Lent by Cyrus McCormick, 


Jr.) 


. LEYS, Hendrik. Remsranpt’s Stupio. (Charles L. Hutchinson Collec- 


tion.) 


. LHOTE, André. Les Dames p’Avicnon. (Birch-Bartlett Collection.) 
. LIPPO LIPPI, School of. Maponna, Cuitp anp Two Ancets. (Lent by 


Cyrus McCormick, Jr.) 


. LOTIRON, Robert. Repas pes Canotiers. (Birch-Bartlett Collection.) 
. MANET, Edouard. THE Music Lesson. 
. MAES, Nicolaes. Portratr or A Woman. (Charles L. Hutchinson 


Collection.) 
2284. Portrait or A Man. (Charles L. Hutchinson Collection.) 


. MARCHE, School of the. Maponna and CuiLtp. (Lent by Cyrus Mc- 


Cormick, Jr.) 


. MARCOUSSIS, Louis. Inrerior. (Birch-Bartlett Collection.) 

. MARIN, John. Tue Brook. (Birch-Bartlett Collection.) 

. MARMOVEK,N. Errerpe Netce. (Birch-Bartlett Collection.) 

. MARTORELL, Benito. Sr. GEorcE anp THE Dracon. 

. MATISSE, Henri. Femme au Divan Rose. (Birch-Bartlett Collection.) 


2291. Femme Devant un Aquarium. (Birch-Bartlett Collection.) 


. MEIFREN, Eliseo. Coast or THE Canary IsLANDs. 
. MILLET, Jean Francois. THe Batruer. (Lent by A. M. Barnhart 


Estate.) 


. MODIGLIANI, Amedeo. Dovusie Porrrair. (Birch-Bartlett Collec- 


tion.) 


. MONGINOT, Charles. Fruir Prece. (Lent by Mrs. Lysander Hill.) 
. NEER, Aert van der. WINTER Sports ON THE SCHIE River. (Charles L. 


Hutchinson Collection.) 


. NETSCHER, Caspar. Lapy Berore Mirror. (Charles L. Hutchinson 


Collection.) 


. ORCAGNA, Studio of. TriprycH: Maponna AND CHILD WITH SAINTS. 


(Lent by Cyrus McCormick, Jr.) 


THE ARR INS TIE UTE” OP CHE Gr ee 


. OSTADE, Isack van. TrAveLters HAttine at AN Inn. (Angell Collec- 


tion.) 


. PALAMEDESZ, Antonis Stevaerts. Jan Nictasz Gaet. (Charles L. Hut- 


chinson Collection.) 


. PAOLO DI GIOVANNI FEI. Triptycuo, Maponna anp CHILD WITH 


Saints. (Lent by Cyrus McCormick, Jr.) 


. PAREJA, Juan. Communion or St. Francis. 
. PASCIN, Jules. Giri SeateD on A Sora. (Birch-Bartlett Collection.) 


.« PEALE, Charles Willson. Joun NicHotson or PHILADELPHIA (Portrait.) 


(Lent by Mrs. Carter H. Harrison.) 
2305. Mrs. Joun Nicuorson (Portrait). (Lent by Mrs. Carter H. Harrison.) 


. PERUGINO, School of. Crucifixion wirH Viroin, MaGcDALene, Sr. 


Joun. (Lent by Cyrus McCormick, Jr.) 


. POURBUS, Frans. Porrrair. (Lent by Kate S. Buckingham.) 

. POUSSIN, Gerard Dughet. Cxrassic Lanpscapse. (Angell Collection.) 

. PRUNA. Woman wirn Book. (Birch-Bartlett Collection.) 

. RANGER, Henry Ward. Noanxk Suipyarps. (Charles L. Hutchinson 


Collection.) 
2311. Brookryn Bripce. (Charles L. Hutchinson Collection.) 


. REMBRANDT, Ratsinc or Lazarus. (Angell Collection.) 
. REMBRANDT, School of. Sr. Paut Seatep 1n Mepiration. (Angell 


Collection.) 


. REYNOLDS, Sir Joshua. Miss Anne Meap. (Angell Collection.) 
. RUBENS, Peter Paul (School of). Diana tHE Huntress. (Angell Col- 


lection.) 


. ROSSETTI, Dante Gabriel. Beara Beatrix. (Charles L. Hutchinson 


Collection.) 


. ROUSSEAU, Theodore. Lanpscape. (Charles L. Hutchinson Collection.) 
. SELLAJO, Jacopo del. Maponna anp CuHiLp 1n Lanpscape. (Lent by 


Cyrus McCormick, Jr.) 


. SEVERINI, Gino. Prerrot’s Carp Party. (Birch-Bartlett Collection.) 
. SEURAT, Georges. Un DimancuHe A LA GRANDE JATTE. (Birch-Bartlett 


Collection.) 


. SHIRLAW, Walter. Toninc or THE Bett. (Lent by Mark S. Willing.) 
. SIMON, Lucien. Harvestine. 


2321. MEN ON BREAKWATER. 


. SODOMA, (Antonio Bazzi). Hoty Famiry. (Lent by Cyrus McCormick, 


Jr.) 


. SOROLLA, Joaquin y Bastida. Mrs. Lypta M. Hisparp (Portrait.) 


(Lent by Mrs. Robert B. Gregory.) 


. SPANISH PRIMITIVE, XV Century. Str. Francis or Assisi. 


2325. St. GEORGE WITH BANNER. 
2326. SALOME AND THE HEap oF St. JOHN. 


. SPRANGER, Berthold. Mars. (Lent by Mrs. Aurelia Partridge.) 


2228. 
2320. 
2330. 


2231. 


PeatNiINGS LOANED TO THE ART INSTITUTE I7I 


STEEN, Jan. Tue Farr ar Warmonp. (Angell Collection.) 
STUART, Gilbert. Grorce WasHinctron. (Lent by S. W. Weis.) 


TENIERS, David II. Man Licutine A Pips. (Charles L. Hutchinson 
Collection.) 

THEOTOCOPULI, Domenico (El Greco). ANNuNctaTION. 

2332. PARTING oF CHRIST AND THE VIRGIN. 

2333. St. ANDREW, APOSTLE. 

2334. St. Francis or Assist. 

2335. St. Martin SHarineG His CLoak. 


. TINTORETTO (Jacopo Robusti). Baptism or CLorinpA By TANCRED. 


(Lent by Frank G. Logan.) 


. TURNER, J. M. W. Mopern Itaty. (Lent by Armour Institute of 


Technology.) 


. UTRILLO, Maurice. Srreetr. (Birch-Bartlett Collection.) 


2339. Paris Street Scene. (Birch-Bartlett Collection.) 


. VACCARO, Andrea. DescENT FROM THE Cross. (Angell Collection.) 
. VALADON, Suzanne. Stitt Lire. (Birch-Bartlett Collection.) 

. VELASCO, Antonio Palomino. Vision or San Dominco Guzman. 

. VELASQUEZ, Diago Silvay. THe Dyine SENEca, 


2345. St. JOHN IN THE WILDERNESS. 


. VERONA, School of. Cructrixion, wirH VirGINn AnD St. Joun. (Lent 


by Cyrus McCormick, Jr.) 


. VILADOMAT, Antonio. Concert IN A GARDEN, 
mee LOIN, Hrederick P. F.A. Nosre, D: D. (Portrait). (Lent by Mrs. 


F. A. Noble.) 


. WAROQUIER, Henry de. Vicenza; LANDscaPpE witTH BALUSTRADE. 


(Birch-Bartlett Collection.) 


. WATTS, George Frederick. JosepH Joacuim. (Charles L. Hutchinson 


Collection.) 
2352 DeaTtH AND FaitH. (Charles L. Hutchinson Collection.) 


. WENDT, William. Lanpscape. (Lent by Wallace L. DeWolf.) 
. ZIEM, Felix. Harsor Scene. (Lent by Mark S. Willing.) 
. ZORN, Anders. Ira Netson Morais (Portrait). 


2356. Wii11aM B, OcpeEn (Portrait). 


. ZURBARAN, Francisco de. San Roman, Martyr. 


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